Shosha Goren

Meduzot (the Hebrew word for Jellyfish) tells the story of three very different Israeli women living in Tel Aviv whose intersecting stories weave an unlikely portrait of modern Israeli life. Batya, a catering waitress, takes in a young child apparently abandoned at a local beach. Batya is one of the servers at the wedding reception of Keren, a young bride who breaks her leg in trying to escape from a locked toilet stall, which ruins her chance at a romantic honeymoon in the Caribbean. One of the guests is Joy, a Philippine chore woman attending the event with her employer, and who doesn't speak any Hebrew (she communicates mainly in English), and who is guilt-ridden after having left her young son behind in the Philippines.

A young boy delivers food in the summer vacation for this mother, who has some sort of a restaurant. Suddenly his uncle Mario, who lives in Italy, visits them by surprise. The boy's life changes when he follows his uncle one night to an appointment. After that night things will never be the same.

Shlomo who discovers in his son's Assaf room, women's clothing and accessories, decides to 'teach the boy a lesson'. When Assaf returns to his parents' home on a rainy night from a party, his attempts to enter home fail. His father, with the silent consent of his mother, locked the door. At present, 4 years later, Gallia turns to an investigation agency to help her find her son Assaf and bring him to Shlomo, his father who is dying of cancer. One night, at a night club in Tel Aviv, Assaf is seen performing as a beautiful transgender lady singer who goes by the name of Anna. After a few days a private nurse turns up at Shlomo's room at the hospital, sent as she claims by the insurance agency to assist Shlomo. The nurse is Anna (his son Assaf) and she manages to conquer Shlomo's heart by her charming personality and her special attitude toward life.

Love, family expectations, and religion mix in 19th century Jerusalem. Jacob and Rebecca marry; he's a rabbi, she's dutiful and loving. But she has no children. Months become years. Although Jacob is content, his mother reminds everyone she is waiting for a grandson. After 15 years, Rebecca determines that Jacob must take an additional wife, the young and beautiful Sultana. Rebecca fasts and prays, and in a state of near ecstasy, persuades everyone involved and then arranges an elaborate wedding. However, Sultana does not conceive, and Rebecca watches helplessly as Jacob's affection shifts to Sultana. She's near madness and the household is in turmoil. What can Rebecca do now?

David Ofek looks back on the first Gulf War, when he was living with his parents in Ramat Gan, Israel. They are Iraqi Jews. His parents are fascinated with news reports of the bombing of Baghdad. His grandmother comes to stay with them during the SCUD attacks. Wearing gas masks, they sit in a secure room David has rigged. When the all-clear sounds, they look at photo albums. They're visited by David's girlfriend, Eve. They talk politics; grandma disapproves of Eve. Eve leaves for Eilat for respite. David images a life with Eve after the war ends

he film tells the story of two brothers from a poor neighbourhood in Tel Aviv where almost all the residents are of Iraqi descent. Avi lives with his domineering and manipulative grandmother. The return of Roni, Avi's elder brother from Europe, awakens old demons as Roni, a compulsive gambler, stakes all on the football games of Avi's beloved team, Bnei Yehuda. Avi has to choose whether to remain pure and risk losing everything, or sully his hands in order to save his world. A charming and at times hilarious look at the Mizrahi subculture of soccer-worship.

Dusk presents several interlinked stories of Israeli reality, all occurring on the same day and all dealing with a crucial moment in the relationship between parents and children.

"The image is universal; the country of origin is Israel, confirming that its young are not different from others elsewhere. The atmosphere is cool, modern, Western; the decor utilitarian, the style avant-garde. Nothing detracts from the soft abandon of the scene. This film is banned in Israel. And who said that Israel cannot make sex films? Yet the contrasting myths of Israel as an idealistic society given to righteous self-improvement or a militarist-orthodox state bent on self-aggrandizement are so strong that this work comes as a surprise. Its manifold copulations, sophisticated stance, avant-garde modernity, and political thrusts stamp it as the testimony of a new generation. One sequence: "A vision of the Virgin Mary waiting for the Holy Ghost to do his thing, as Avidan's voice sings a tearful Yiddish refrain and Joseph the Carpenter bangs on the door, before going to take his vengeance by building a cross."" — Amos Vogel

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