Dan Muggia

This Israeli-made film is set along the battle-torn West Bank. Military governor Makram Khouri tries to flush out some fugitive PLO activists by hanging the rotting, stinking carcass of a dead donkey in a village square. Israeli doctor Rami Danon forgets his animosity towards the PLO and, out of compassion, cuts the carcass down. For disobeying Khouri's orders, Danon becomes as much a fugitive as the Palestinians. While in hiding, Danon befriends Arab hermit Tuncel Kurtiz, whose adopted son is a member of the PLO.

Emily Boynton, the stepmother to three children, blackmails the family lawyer into destroying a second will of her late husband that would have freed the children from her dominating influence. She takes herself, the children, and her daughter-in-law on holiday to Europe and the Holy Land. At a dig, Emily is found dead and Hercule Poirot investigates.

Israeli attorney Hanna Kaufman has her beliefs challenged when she is appointed to the defense of Selim Bakri. Kaufman, who was born in the United States to survivors of the Holocaust, has always accepted Israel's right to exist. But she bears witness to some of the costs of its sovereignty when she meets Bakri, a dispossessed Palestinian man facing serious criminal charges who wants the same thing as his supposed enemies: to reclaim his family home.

30s. A skilled boxer from Tel Aviv fights against a famous one. Despite his winning he prefers his local love instead of a worldwide career

The film presents fascist ideologies since the beginning of the 20th Century. The actor/presenter of Maurice Barrés argues against foreign labor on the Tel Aviv beach. Mussolini in a gym. Jose Antonio Primo de Rivera in a bookshop. Carl Schmitt at court. Abba Ahimeir and Itamar Ben-Avi in a public library. Gudrun Streiter recalls her love affair with an SA Stormtrooper with Hitler and Himmler on a bench in a park. Three Rabbis from the Yitzhar Settlement on the West Bank: Shapira, Ginzburg and Elitzur have recently ruled that “there is a reason to kill a child if it is clear that it will grow to harm us” (Torat Hamelekh, 2009, pg. 207). They too appear and discuss their interpretation of Divine commands on a park bench.

oav (Doron Nesher) is a member of an elite diving unit in the Israeli Navy who has just lost a friend (killed in action). It is up to him to visit the widow, and when he does, they develop a bond based on their shared grief. This unspoken affinity between them is on the verge of growing into something beyond simple commiseration when Yoav realizes he must decide where his priorities lie, with his military unit or with his personal life. Like others in his group, their excursions into civilian life so often involve consoling widows or parents or children, made all the worse by knowing that they must go back again and face future tragedies in action.