Wrestling Jerusalem

The film returns to the origins of the creation of the State of Israel (from 1896 to 1948) and highlights the responsibility of the Western World.

Ze’ev Vladimir Jabotinsky? Most people don’t know much about him. Most people know he was the father of Herut movement, a revisionist. And who really knows what revisionism really means. A few people know that he translated Allan Poe’s Annabel Lee; even fewer read his historical novel, Samson. The Raven tries to fathom Jabotinsky’s deceptive character. The film follows his conflicted, controversial character, the meaningful choices, desires and abilities that eventually led him to end his life prematurely but left a huge mark on Zionism and Israel. - See more at: http://nfct.org.il/en/movies/the-raven-zeev-jabotinsky/#sthash.WoPKutbi.dpuf

There are over 1.4 million Arabs who are citizens of Israel, facing the challenge of living in a Jewish state while maintaining their Arabic heritage. In Israel, soccer is king, and Bnei Sakhnin has become the first team from an Arab town to win the prestigious Israeli Cup — and represent Israel in European competition. Fielding Arab, Jewish and foreign-born players, owned by an Arab, and coached by a Jew, Bnei Sakhnin's success has begun to represent a symbol of coexistence, a potential bridge between Arabs and Jews in Israel. But as Bnei Sakhnin begins its first season after their unexpected win, they know it may well be their first and last in the limelight. Underfunded, lacking experience, and with a rift brewing between the star player and the coach, they face unprecedented challenges — impossible expectations have come with their sudden success, and failure to live up to them will carry consequences both on and off the field.

Holot Nodedim

An Israeli film director interviews fellow veterans of the 1982 invasion of Lebanon to reconstruct his own memories of his term of service in that conflict.

The Israeli filmmaker Shai Corneli Polak records the building of the 'security wall' through Palestinian territory at the village of Bil'in. The villagers protest mostly peacefully, while the Israeli army doesn't react peacefully. By now the Israeli High Court has ruled that the building of the wall was illegal.

The film tells the compelling and moving stories of two remarkable young women living in Gaza and the struggle of Gazans trying to maintain their humanity and humor while hoping to find some sense of normality in a world that is anything but normal.

In a country that has been occupied for decades, a couple of puppeteers continue to bring a little joy from village to village. The children laugh, perhaps still unaware of the gravity of the situation. The central section is devoted to a visit to the refugee camp of Dheisheh.

A documentary that exposes the roots of the new international terrorism, including the restoration of special units in operation against terrorists.

Yes, you read it right, it reads Keep your underwear on! If that is not shocking enough, now imagine your pastor standing up in front of the congregation and preaching a sermon entitled Keep your underwear on.

Maher, a Palestinian man, a former political prisoner. He is an electrical engineer by profession but an artist at heart. He dreams of staging a contemporary dance performance in Ramallah. In order to do so, he must deal with his disapproving family, tight budgets and cultural norms. Set in today's most contested location, Maher's story is a parable about a society in conflict, where the real war is between dreams and traditions.

It's war. War against an invisible enemy that is not as deadly as we are told. The world is changing rapidly. Disproportionate measures are taken worldwide that disrupt society as a whole. A dichotomy in society forced vaccinations and restrictions on freedom. Have we had the worst? Or is there something more disturbing to awaiting us.

Alone Man Show

Propaganda of the development of the Jewish community in Palestine.

Najwa, Nawal and Siham, three Palestinian widows, live with their 11 children in a house on Shuhada Street in Hebron. Their house lies on the border; the façade is under Israeli occupation, the Palestinian authority controls the back. At the entrance to the house a military post, on the roof the Israeli army has placed a watch point over Palestinian Hebron. Three women, trapped in the middle, constantly surrounded by Israeli soldiers, carry on their difficult lives in a perverse situation: the occupation becomes a routine, the absurd becomes a given. This is the story of an occupation that extends to the staircase and the roof of the house, where it encounters poverty, loneliness, pain, but also the small joys of everyday life. This is an internal prison, the external one is the ongoing occupation.

It is the story of a little hair salon in the heart of the Arab community in Haifa (Israel); it is the story of a friendship between Arab and Jewish women in the city, which is considered a model of coexistence; and it is the story of Iris, the director, who worked as a hair washer at the salon so she could get to know women of the neighbourhood. Through her interaction with the women, in this unique frame, Iris wishes to tell the story of the community from the personal experience of the film's subjects, and to explore what it reflects of Israeli society.

By the age of thirty he’d already become the most famous poet in the Jewish world. He spent very few years living in Tel Aviv, but he loved the city dearly. Some 100,000 people attended his funeral in 1934. “King of the Jews” is a portrait of the most beloved Jew of his day, Chaim Nachman Bialik. Combining special animation, a voice track by Chaim Topol, rare archival footage, long-forgotten photographs, poems by Bialik performed by Ninet and interviews with the foremost Bialik researchers and fans in Israel and around the world, this film retells the story of the little boy from the shtetl, who became King of the Jews.

The pro-Palestinian, anti-capitalist, BDSM-provocative, techno-punk performance art ensemble Hatari unsurprisingly drew attention to themselves with their performance at the Icelandic qualifiers for the Eurovision Song Contest. So much so that they won and therefore were allowed to perform at the main event in Tel Aviv. But what now? Should they boycott the event, swallow their idealism, or use their airtime to criticise the host country for their illegal occupation of Palestine? The Icelandic director Anna Hildur joins the boys in the band all the way to the fateful final.

A detailed investigation into the political and economic interests that, since the beginning of the 20th century, have pulled the strings of the arms trade, hidden in the shadows, feeding the shameful corruption of politicians and government officials and promoting a state of permanent war throughout the world, while they cynically asked for a lasting and universal peace.

Tawfiq’s Reef chronicles the plight of Palestinian fishermen in Gaza, heavily restricted in the area in which they can fish, often indebted, shot at, harassed or imprisoned by the Israeli Navy on the narrow sliver of fishing waters available to them off the Gaza coastline, making this one of the most dangerous professions in the world.