Screen Jerusalem Film Festival 2016 day 1 by Media Business Insight

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THURSDAY, JULY 7 2016

AT JERUSALEM FILM FESTIVAL www.ScreenDaily.com

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TODAY

SCREENINGS

Â» Page 14

‫יוסף שילוח‬

YO S E F S H I LOA H TRIBUTE

A TRUMPET IN THE WADI

‫ערב הוקרה‬

DESPERADO SQUARE

WEDDING DOLL

On the occasion of his receipt of the Jerusalem Film Festival’s Life Achievement Award, The Jerusalem Film Festival, the Israel Film Fund and the Israeli Cinema Testimonial Database present an evening in tribute to Yosef Shiloah, with the participation of some of the people who have accompanied him throughout nearly half a century of acting for stage and screen. The participants will sketch the life and personality of one of the most outstanding and popular actors in the history of the Israeli cinema.

TURN LEFT AT THE END OF THE WORLD

NOODLE Opening remarks:

JELLYFISH

Participants: actor Zeev Revah, director Shemi Zarhin, director Benny Torati, film critic Meir Schnitzer, film critic Shmulik Duvdeveni, and others.

Moderators: Marat Parkhomovsky and Avital Bekerman, Testimonial Database Coordinator: Tzila Levy

BROKEN WINGS

ZERO MOTIVATION

GETT

:‫בהשתתפות אישים שליוו ומלווים אותו בדרכו המקצועית‬ ‫ באמצעותם נשרטט קווים‬.‫ במאים ומבקרי קולנוע‬,‫שחקנים‬ ‫ אחד משחקני הקולנוע והתיאטרון‬,‫לדמותו של יוסף שילוח‬ .‫הבולטים והפופולאריים בתולדות הקולנוע הישראלי‬

OUT IN THE DARK

,‫ מאיר שניצר‬,‫ בני תורתי‬,‫ שמי זרחין‬,‫ זאב רווח‬:‫משתתפים‬ .‫שמוליק דובדבני ואחרים‬

THE ISRAEL FILM FUND CONGRATULATES THE 33RD JERUSALEM FILM FESTIVAL

During the evening, excerpts will be screened from an interview with Yosef Shiloah conducted as part of the Israeli Cinema Testimonial Database documentation project. The project is conducted with the support of the Israel Film Fund, the Israel Lottery Council for Culture and Art, the Jerusalem Cinematheque-Israel Film Archive and the Tel Aviv Cinematheque. Length of program: approximately 60 minutes

WALTZ WITH BASHIR

‫"מאגר‬-‫ קרן הקולנוע הישראלי ו‬,‫פסטיבל הקולנוע ירושלים‬ ‫העדויות של הקולנוע הישראלי" בתכנית לרגל הענקת‬ ‫פרס מפעל חיים לשחקן יוסף שילוח בפסטיבל הקולנוע‬ .‫ירושלים‬

:‫דברי ברכה‬ ‫ מנכ"ל הסינמטק‬,‫אילן דה פריס‬ ‫ מנכ"ל קרן הקולנוע הישראלי‬,‫כתריאל שחורי‬

Ilan de Vries, General Director, Jerusalem Cinematheque Katriel Schori, CEO the Israel Film Fund

THE FAREWELL PARTY

EYES WIDE OPEN

‫במסגרת הערב יוקרנו גם קטעים נבחרים מראיון שנערך עם‬ ‫יוסף שילוח במסגרת פרויקט התיעוד "מאגר העדויות של‬ ‫ מועצת‬,‫ בתמיכת קרן הקולנוע הישראלי‬."‫הקולנוע הישראלי‬ ‫ ארכיון ישראלי‬- ‫ סינמטק ירושלים‬,‫הפיס לתרבות ולאמנות‬ .‫לסרטים וסינמטק תל אביב‬ ‫ דקות‬60-‫ כ‬:‫משך התכנית‬

FILL THE VOID

‫ מרט פרחומובסקי ואביטל‬- "‫ "מאגר העדויות‬:‫עורכי הערב‬ ‫בקרמן‬

‫ צילה לוי‬:‫הפקה בפועל‬

!‫ הסרט "כיכר החלומות" בעיצוב סטודיו יש‬:‫כרזה‬

Poster: from the film Desperado Square, designed by Studio Yesh!

IGOR AND THE CRANES' JOURNEY

LATE MARRIAGE

14.7

2NIGHT

• 18:00 • Cinematheque 3

Code for Ordering Tickets:

SIX ACTS

‫קוד‬

3 ‫ • סינמטק‬18:00 • 14.7 :‫קוד להזמנת כרטיסים‬

MOUNTAIN

DANCING ARABS

BETHLEHEM

ROOM 514

WALK ON WATER

THINGS BEHIND THE SUN

WE HAD A FOREST

THE BAND'S VISIT

filmfund.org.il ORANGE PEOPLE

LOST ISLANDS

USHPIZIN

OUR FATHER

FOOTNOTE

LEMON TREE

THE BUBBLE

LEBANON

TOTAL LOVE

RESTORATION

FIVE HOURS FROM PARIS

AJAMI

THE SYRIAN BRIDE

CLOSE TO HOME

SAVING NETA

ELI & BEN

A MATTER OF SIZE

SWEET MUD

THREE MOTHERS

JAMES' JOURNEY TO JERUSALEM

FROZEN DAYS

THE WANDERER

TIME OF FAVOR

VASERMIL

IS SU E

THURSDAY, JULY 7 2016

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TODAY

Ronit Elkabetz

NEWS Top talent Key film execs lined up to attend festival’s Industry Days » Page 4

TRIBUTE Ronit Elkabetz The life and career of the late Israeli actress-director » Page 8 Noa Regev

REVIEW The Handmaiden

JFF spectacle in store for public and industry

Park Chan-wook’s erotic potboiler is an ornate technical triumph » Page 13

SCREENINGS

» Page 14

BY MATT MUELLER

The 33rd Jerusalem Film Festival kicks off tonight with the open-air gala screening of Pedro Almodovar’s Julieta, and festival director Noa Regev and artistic director Elad Samorzik are confident the eclectic programme will keep film lovers happy and intellectually engaged over the next 11 days. For the first time the festival is introducing an international competition, with nine selections from the programme competing for the inaugural Wilf Family Foundation Award. A key motivating factor is to help the chosen films, which include Cannes 2016 selections Sieranevada, by Cristi Puiu, and Park Chan-wook’s The Handmaiden, secure Israeli distributors. “We’re trying to encourage the distribution of quality films in Israel,” says Samorzik. Israel’s own vibrant cinema scene is once again showcased in a strong line-up, including in the narrative competition Nir Bergman’s Saving Neta and Eran Kolirin’s Beyond The Mountains And Hills. “This year in particular, each film is very distinct,” says Samorzik. There is a new outdoor screening venue and cinema park for children at Harry Wilf Indepenence Park, and an expanded industry programme under the Industry Days umbrella. The tribulations that greeted last year’s opening, when the festival was pressured to withdraw documentary Beyond The Fear, are nowhere to be seen. Celebrating their third year at the JFF helm, Regev and Samorzik are looking forward to another successful festival. “This is the fun part now, to see people enjoying the films,” says Regev.

Quentin Tarantino

Tarantino touches down for a Pulp presentation BY TOM GRATER

Iconic US film-maker Quentin Tarantino is one of a number of high-profile international guests attending this year’s Jerusalem Film Festival. Tarantino is in town to accompany a screening of his 1994 feature, the Palme d’Or and Oscar-winning neo-noir black comedy Pulp Fiction. The film will be projected from a restored 35mm print from Tarantino’s personal archive. The sold-out screening will take place at the Cinematheque tomorrow at 10pm. The director will participate in a live on-stage

conversation following the film. Tarantino, who last visited Israel in 2009 to promote his Second World War thriller Inglourious Basterds, will also be presented with a lifetime achievement award at the festival’s opening ceremony tonight. Another high-profile director attending the festival is Whit Stillman, who will participate in a Meet The Filmmaker event after a screening of his latest feature, the Kate Beckinsale-starring period comedy Love & Friendship, on Saturday at 5.45pm. Also taking part in Meet The Filmmaker sessions are Fenton Bailey (Mapplethorpe:

Look At The Pictures), Laurie Anderson (Heart Of A Dog), Daniel Leconte (Je Suis Charlie) and producer Anthony Bregman, who is accompanying a screening of James Schamus’s directing debut Indignation, which premiered at Sundance. Further guests jetting into Jerusalem include actress Emma Suarez, who will attend the festival’s opening-night screening of Pedro Almodovar’s Julieta, in which she stars alongside Adriana Ugarte, and Rams director Grimur Hakonarson, who is on the jury for the international competition.

Jerusalem lines up tributes, classics and classes Special events at this year’s Jerusalem Film Festival include a series of tribute screenings to the late Israeli actress and film-maker Ronit Elkabetz (see tribute, page 8), which make up this year’s Moonlight Cinema strand (July 13-16) held at the historic Jerusalem railway venue The First Station. Entry is free. The festival also ventures once again into the Old City, with free screenings taking place across

venues including Hatkuma Garden and Muristan Square (July 12-14). Films include Steven Spielberg’s sci-fi drama A.I. Artificial Intelligence and Michael Curtiz’s classic romance Casablanca, while Jaffa Gate will be home to video-art installations and projections of restored materials from the Israel Film Archive. Elsewhere, the festival will host a new family-friendly cinema park at

Harry Wilf Independence Park (July 10-14). Activities will include a 100-metre zipline that creates the illusion of a moving film from a wall of still images, the opportunity to learn about film animation techniques such as stop-motion and zoetropes, and a green-screen experience that places the user in the desert, New York City or a car chase. Tom Grater

Small screen takes big role BY TOM GRATER

This year’s festival will host an international TV strand for the first time. JFF Series comprises four titles, each of which will have its first episode screened on Monday, July 11. HBO and BBC crime series The Night Of, directed by Steven Zaillian and James Marsh, will be shown at 11.45am in a double-header with Baltasar Kormakur’s Icelandic crime drama Trapped. Outcast, the supernatural horror series from The Walking Dead creator Robert Kirkman, will be shown before a screening of comedy horror BrainDead, from The Good Wife creators Michelle and Robert King. JFF Series is a collaboration with Israeli satellite television provider Yes, whose acquisitions team helped festival organisers gain access to recent high-end productions. Israeli television is sparser in the programme this year because of strict air dates, although documentary series House Call plays in the Israeli Cinema strand. “Television has rich cinematic and artistic values, which deserve to be presented on the big screen,” says JFF artistic director Elad Samorzik.

Trapped

NEWS

(Clockwise from top left) Eric Lagesse, Roberto Olla, Carole Scotta, Gabor Greiner, Charles Tesson; (Below) Hengameh Panahi

Beyond The Fear

Documentary makers question art and reality BY MELANIE GOODFELLOW

Industry big hitters roll into Jerusalem BY MELANIE GOODFELLOW

A slew of top cinema executives will be attending Jerusalem Film Festival this year for the packed programme of events under the newly created Industry Days umbrella. Industry professionals due to fly in include French distributor Eric Lagesse of Pyramide Films, Paris-based Celluloid Dreams sales supremo Hengameh Panahi and Gabor Greiner, head of acquisitions at Berlin-based sales company Films Boutique. Other attendees include Carole Scotta, co-founder of Haut et Court, the company behind such arthouse hits as Laurent Cantet’s Ma Vie En Rose and cult TV series The Returned; Charles Tesson, head of Critics’ Week at Cannes; and Roberto Olla, head of European filmfunding body Eurimages.

Strong local links Many of these cinema professionals have links with the Israeli industry. Panahi handled Samuel Maoz’s 2009 narrative debut Lebanon, supporting its entry into Venice Film Festival, where it won the Golden Lion; Lagesse’s Pyramide Films previously sold Shira Geffen’s debut title Jellyfish; and Scotta was a co-producer on Nadav Lapid’s The Kindergarten Teacher. Tesson, Panahi, Lagesse and

Scotta will be on jury duty at the Sam Spiegel International Film Lab’s two-day pitching event, which kicks off tomorrow. A total of 11 film projects — developed at the Jerusalem lab over the last six months — will be publicly pitched at the Mishkenot Sha’ananim cultural centre. These range from Nepalese feature The Whole Timers, which captures the country’s civil war through the eyes of a young child soldier fighting on the side of Maoist guerrillas, to Israeli director Shai Carmeli-Pollak’s The Voice Of The Sea, about a Palestinian boy’s quest to escape his separation barrier-enclosed village to see the sea. The lab has proven a fruitful hunting ground for producers and sales agents in the past. Greiner first connected with Laszlo Nemes and his Oscar-winning Son Of Saul at the 2013 edition — tipping off Film Boutique’s Paris-based partner company Films Distribution about the production, which it went on to sell. Other past attendees include Singapore prison drama Apprentice and One Week And A Day, Israeli filmmaker Asaph Polonsky’s tale of a couple coping with the death of their son.

4 Screen International at Jerusalem July 7, 2016

Both will make their Israeli debuts at JFF, having premiered in Cannes. Another key industry draw is the Pitch Point event. The two-day meeting, which runs July 10-11, is aimed at connecting Israeli filmmakers with international producers and sales agents. It also has a growing legacy. Features unveiled at the meeting include Rama Burshtein’s Fill The Void, Lapid’s Policeman, Geffen’s black comedy Self Made, Maoz’s Lebanon and Talya Lavie’s Zero Motivation. Two of the films competing in the Israeli Feature Film Competition, Our Father and Saving Neta, were also launched at the event. This year’s line-up includes new projects by Keren Yedaya, Evgeny Ruman, Mushon Salmona and Bazi Gete.

Industry Days For the first time, Pitch Point is being held under the auspices of the festival’s first Industry Days, grouping all the professional events together. Other highlights include Friday’s day of panels and masterclasses focused on distribution. French producer Guillaume de Seille will talk about distributing arthouse movies in France and the US.

Israeli documentary film-makers have put censorship, art and reality at the heart of their annual International Conference on Israeli and International Documentary Filmmaking at Jerusalem this year. Entitled ‘A Look from the Inside, A Look from the Outside’, the day of talks and debates on Tuesday, July 12, will explore the tension between the representation of reality and artistic ambition that exists in all creative documentaries. Film-maker and academic Orna Raviv, who put together the programme, says the theme was born out of a spate of censorship incidents in Israel over the past months. Notable among these was the pulling from the Jerusalem line-up last year of Beyond The Fear — about the personal life of Prime Minister Yitzhak Rabin’s assassin, Yigal Amir — as well as Shivering In Gaza, a portrait of Palestinian medics, which was denied screens in the southern Israeli towns of Sderot and Beersheba. “If these films had been fiction features rather than documentaries, would people have cared so much?” asks Raviv. “The fact documentaries are perceived as representations of reality changes expectations. We want to explore how documentary film-makers reconcile a desire to represent reality with a desire to make art, if at all, and the tension between the two goals. “There are those who say you can’t escape from politics and reality and that the job of

documentary film-makers is to raise questions and prompt debate,” she continues. “There are others who say documentary making is an art form that has to be constructed like any other feature film.”

Strong line-up Raviv has pulled together an impressive line-up of speakers. Yoav Shamir, who has won multiple awards for films including the 2003 festival hit Checkpoint and the more recent 10%: What Makes A Hero?, will explore the challenges of capturing reality in a talk entitled ‘The Boundaries of Manipulation: Between Checkpoints and Defamation.’ Film academic Ohad Landesman will discuss Susan Sontag’s controversial Promised Lands, an experimental work shot in Israel shortly after the 1973 Yom Kippur War. There will also be an exploration of Mor Loushy’s controversial work Censored Voices. Israel’s deputy attorney general at the Ministry of Justice Dina Zilber will also give a talk about the country’s censorship legislation and what film-makers can do when their films are banned. The annual conference — which marks its fifth edition this year — aims to look at key issues for Israeli documentaries within the context of international documentary film-making. It is a joint venture between the Israeli Documentary Filmmakers Forum, Duke University, Sapir College and Jerusalem Film Festival with the support of the Rabinovich Foundation and the Gesher Multicultural Fund.

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SPOTLIGHT FILM FUNDS

Michal Vinik’s debut feature Barash has just been released in Israeli cinemas

For the love of film For a relatively small country, Israel boasts a multitude of film funds. Geoffrey Macnab discovers how vital these are to both local and international film-makers

hen it comes to film funding in Israel, there is not one single national cinema agency overseeing everything. Instead, under the Israeli film law established in 2000, many different organisations administer the financing. Each is a non-governmental organisation (NGO) with its own board of directors, and each has a different footprint. It seems a fiendishly complicated system for what remains a relatively small film industry in which everyone knows everyone, and some question why documentary and fiction features need to be separated. Nonetheless, the policy is working: local market share for Israeli films is stable at around 10%-12%, and Israeli movies continue to travel the festival

6 Screen International at Jerusalem July 7, 2016

circuit and secure international distribution. The most prominent of the public film bodies is Israel Film Fund, under its redoubtable executive director Katriel Schory. This concentrates solely on dramatic features aimed primarily at the theatrical market. These can include co-productions and animated movies, but need to be full-length narrative pieces. Israel Film Fund has a war chest of around $7m a year to spend on fiction features. Documentaries are covered by the New Fund for Cinema and Television, which has an annual budget of around $2.5m, while the Makor Foundation supports mainly shorts and the Gesher Fund backs films from minority groups. Complementing the activities of all the different film bodies is the Yehoshua

Rabinovich Foundation for the Arts, which may invest in everything: features, docs, shorts and animation. “A film-maker basically has two doors to knock on,” is how Schory describes the elaborate system of checks and balances. If, for example, the readers at Israel Film Fund decide to pass on a

‘I am ready to take all the pressure and let the filmmakers run with their dreams’ Katriel Schory, Israel Film Fund

project, that film-maker can instead try the Rabinovich Foundation. Overseeing these funders is Israel Film Council, which advises the Ministry of Culture on film policy. The council also advises the government on setting budgets for both the funds and for the country’s cinematheques and festivals. Each film body submits a new request for funding each year and the Film Council then decides how to allocate public investment. There is a set budget for public spending on cinema over each five-year period (the industry is in the middle of the 2014-18 cycle). This means overall backing will not decrease from its current level of ILS80m (just over $20m) a year, and ensures the stability of the funds. By law, none of these funds can be cut by more than 10% a year during

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the five-year cycle. “There is a certain stability and it gives us a horizon — it gives us the possibility to create a working plan,” says Schory, who is optimistic the level of public support will increase in the next spending round. Israel does not offer a tax credit for local film-makers, nor one aimed at attracting international film-makers to shoot in the country. And the film sector is frustrated by the lack of support from TV companies. “The broadcasters, all of them, who are obliged by law to invest in Israeli feature films, are trying all the tricks to run away from this obligation,” laments Schory. These broadcasters face shrinking revenues and are reluctant to invest in movies that will not appear on their channels until the films have gone through the traditional release windows. Schory talks of the “cat and dog” relationship between the film funds and their TV partners. Without broadcaster support, the film industry has “to look after itself — and that’s what we’ve been doing”. Built-in ﬂexibility In the absence of soft money and broadcaster support, Jerusalem Film & TV Fund (see separate feature in tomorrow’s issue of Screen) is assuming an ever-increasing importance. The fund offers a cash rebate to international film-makers and is helping to drive inward investment. All of the public funds set out to be as flexible as possible. “We don’t raise flags. We don’t issue a call looking for certain projects. We don’t have a set policy about first-time [directors] or debuts or things like that,” Schory asserts. Instead, all the funds aim to make their decisions based on the cinematic qualities of the projects under consideration, the track record of the director and their ability to excite an audience. Around a third (38%) of Israel Film Fund’s annual investments has tended to be granted to first or second films from tyro directors. It does not distinguish between projects aimed at the local audience and those targeted abroad. “We’ve learned from our own experience that films which work very well in Israel with the local market seem to also work very well internationally,” says Schory. Genre film projects are also gaining traction across the funds, while Schory has put in place a submission process for children’s movies at Israel Film Fund. He also tries to ensure applications for comedies are treated with as much respect as those for drama. “It seems to be working very well,” he says of the latter move, citing local hit Zero

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Our Father

Motivation, about female Israeli soldiers on a remote desert posting, billed as Israel’s answer to M*A*S*H. Budget boost The average budget of an Israeli film is approximately $1m. Israel Film Fund can invest up to 80% of the below-theline costs of making the film. Sometimes, its investment will be as low as $55,500 (¤50,000) and sometimes as high as $500,000 (¤450,000). The fund seeks to support around a dozen features each year. There is a strong emphasis on co-production — Israel has 18 bi-lateral coproduction treaties — and it is a source of pride that more than a third of money invested in Israeli features comes from overseas in the form of co-production. At the same time, Israel Film Fund is ready to board certain foreign projects as a minority co-producer. The fund was one of the partners on German director Margarethe von Trotta’s Hannah Arendt and also supported Polish drama Demon from the late director Marcin Wrona. Schory is philosophical about the pressure the country’s film sector comes under as a result of political upheaval in the region. Two years ago, Suha Arraf ’s Villa Touma, which was supported by

Israel Film Fund, became the subject of fierce dispute in Israel after its director listed the film’s nationality as Palestinian at Venice Film Festival. The furore was heightened because of the conflict in Gaza, and some called for Arraf to return the Israeli public money invested in the film. Schory stood by the filmmaker and insists the Ministry of Culture does not interfere in his activities. “There is a lot of noise and a lot of slo-

gans,” he says. “But, up to this moment, I didn’t get a single phone call from the minister, the ministry, the people around the ministry or from members of Parliament.” Schory sees his main objective as safeguarding the creative freedom of Israeli film-makers. “I am ready to take all the heat, all the pressure in the world and let them [the film-makers] run with s their dreams and make their films.” ■

COMING SOON NEW ISRAELI FILMS ■ Samuel Maoz, director of Lebanon, is in the editing room with Foxtrot. Backed by Israel Film Fund. ■ There are high hopes for Maysaloun Hamoud’s In Between, winner of Jerusalem Film Festival’s Pitch Point last year. Backed by Israel Film Fund. ■ Our Father, from young director Meni Yaesh, about a conscience-torn nightclub bouncer-turned debt collector, is now complete

(Right) Nir Bergman’s Saving Neta

and screens here at the festival. Backed by Israel Film Fund. ■ Michal Vinik’s debut feature Barash, a rites-of-passage story about a teenage girl, has just been released in Israeli cinemas. Backed by Israel Film Fund. ■ Nir Bergman’s drama Saving Neta has been presold widely by London-based WestEnd Films, and screens here at the festival. Backed by Jerusalem Film & Television Fund.

July 7, 2016 Screen International at Jerusalem 7

TRIBUTE RONIT ELKABETZ

Ronit Elkabetz in Keren Yedaya’s Jaffa (2009)

Remembering

Ronit

Jerusalem Film Festival is paying tribute to late Israeli actress and director Ronit Elkabetz. Her friends and colleagues tell Melanie Goodfellow about their beloved collaborator

hurricane, a perfectionist, irrepressible, generous, tough, charitable, larger-than-life and a one-off. These are some of the many, many words used to describe Israeli actress and director Ronit Elkabetz, who died in April from cancer at the age of 51. Her’s was a life and a career cut short in its prime. On the big screen, Elkabetz’s roles over her 25-year career ranged from sensual single mother Judith in Dover Koshashvili’s Late Marriage in 2001, to big-hearted restaurant owner Dina in Eran Kolirin’s The Band’s Visit in 2007, to tragic Tel Aviv prostitute Ruthie in Keren Yedaya’s Or (My Treasure) in 2004. Her defining role came in the latter part of her career in the persona of Viviane Amsalem, the long-suffering Haifa hairdresser and mother of four, demanding children trapped in an unhappy marriage to Elisha (Simon Abkarian). Elkabetz co-created the character with younger brother Shlomi and incarnated her on the big screen three times over the course of a decade, beginning with 2004’s To Take A Wife, 7 Days (2008) and Gett: The Trial Of Viviane Amsalem (2014). To Take A Wife introduced audiences to the character of Viviane as well as her antagonistic relationship with her husband and her complicated love life. The film also marked Elkabetz’s directorial debut alongside her brother, with whom she co-wrote the script.

8 Screen International at Jerusalem July 7, 2016

To Take A Wife producer Marek Rozenbaum of Tel Aviv-based Transfax Film Productions remembers how he first saw Elkabetz’s talent and commitment as a producer on Late Marriage. He boarded To Take A Wife without hesitation. “I knew she was capable and when she and Shlomi came to me with the project it was not a difficult decision to make,” says Rozenbaum. “Although she had no formal training, Ronit was as remarkable behind the camera as she was in front of it. She had this innate ability.” Mining her past The character of Viviane Amsalem, as well as the Moroccan-Israeli community against which the trilogy is set, were inspired directly by Elkabetz’s own upbringing. She was raised in a religious family of Moroccan origin in Beersheba and then the blue-collar coastal town of Kiryat Yam, north of Haifa. Rozenbaum suggests that starring in Late Marriage in 2001 inspired Elkabetz to delve into her background for inspiration. For that film, director Koshashvili drew on his Georgian Jewish roots to create the tale of a bachelor being pressured into marrying a young, virgin bride over the love-of-his life Judith, an older divorcée (Elkabetz). “Late Marriage showed her it could be done, that it was acceptable to show these

‘We sort of fell in love. She was my best friend, my actress and my colleague’ Keren Yedaya, film-maker

sorts of stories on the big screen,” says Rozenbaum. “This encouraged her to delve into her background.” Just before To Take A Wife began to come together, Elkabetz met compatriot filmmaker Keren Yedaya. Both women were living in Paris at the time and had been told by a mutual acquaintance they should meet. “We kept putting it off until one day I returned to France after visiting family and friends in Israel and felt incredibly lonely,” says Yedaya. “I called her and she said, ‘My God, why are you calling me now, I’m packing to go back to Israel tomorrow.’” The pair decided to meet in a café, nonetheless, and ended up talking until the early hours of the morning. “We sort of fell in love,” Yedaya says. “I sometimes say it was really like a man meeting a woman. They closed the bar on us but we couldn’t bear to say goodbye so we went back to my house and continued talking until the sun came-up. When she went to leave, it was like saying goodbye to a lover. From that moment on she was my best friend, my actress and my colleague. I followed her films and she followed mine.” During that first meeting, Yedaya told Elkabetz about her debut feature Or (My Treasure), which she was writing at the time. Elkabetz immediately declared she wanted the role of Ruthie. Yedaya refused, saying

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Elkabetz was too young and beautiful to play the beat-up 45-year-old prostitute. “In the script, Ruthie looks terrible because her body and spirit have been destroyed by years of prostitution,” she says. “Ronit was 38 and gorgeous. She looked more like a 30-year-old. I said, ‘You’re too beautiful, too young and too healthy.’ She simply replied, ‘No, I want to do Ruthie. I want this role, trust me.’” Yedaya relented and Elkabetz proved worthy of her trust. Over the course of a year, she stopped looking after herself, ditching exercise, eating badly and letting her beauty regime slide. She gained six kilos and acquired the unkempt appearance and downbeat look required for the role of Ruthie. ‘A madness and determination’ It was just one example of the meticulous preparation Elkabetz would undertake ahead of a role or taking the director’s chair. For Gett: The Trial Of Viviane Amsalem — which follows Viviane’s five-year battle to secure a divorce from her husband in a Rabbinical Court — the Elkabetz siblings spent months studying the Israeli legal system and hanging around courthouses, attempting to listen to the proceedings taking place behind flimsy walls. They co-wrote the first draft in the space of a month. Their attention to detail paid off and producer Sandrine Brauer at Paris-based Elzevir & Cie was thrilled the first time she read the screenplay. “I was lying in bed and I nearly fell out,” Brauer reveals. “It was as if the bed wasn’t big enough to contain my excitement at what I was reading. There was such a precision and energy in the screenplay. It was incredibly strong. At the same time, I was wondering how it could be turned into a film.” Any concerns Brauer had were dispelled some 18 months later on the first day of the shoot. Elkabetz, who had given birth to twins in the meantime, returned from maternity leave focused and ready to shoot. “Ronit was more than ready,” says Brauer. “She had rehearsed and rehearsed with Shlomi and they knew exactly what they wanted to achieve. There was a sort of madness and determination that united them when they were on set. They worked in perfect tandem and never stopped until they were sure they had achieved what they wanted.” Released in 2014, Gett premiered in Directors’ Fortnight at Cannes before winning a slew of awards at home and abroad as well as a Golden Globe nomination. Brauer and the Elkabetz siblings had been due to collaborate for the second time, on a film about the final year in the life of opera singer Maria Callas. The producer reveals Elkabetz clung to the hope she would be able to make the film right up until the final months of her life — even working on a shooting schedule. The project, which was at the final-draft stage, may be revived in the future, according to Brauer.

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The Band’s Visit

To Take A Wife

Gett: The Trial Of Viviane Amsalem

Or (My Treasure)

Ronit Elkabetz with her brother, Shlomi Elkabetz

“Shlomi and I have to sit down and think it through,” she says. “Ronit in the role of Maria Callas was a pillar of the production. We have to consider if there is anyone who could, or we would want to, take on that role.” Enduring legacy Looking back over her career, Elkabetz — who has been called Israel’s Greta Garbo or Marlene Dietrich by some commentators — is likely to go down in history as one of the country’s great actors and directors. She also worked extensively in France, having moved there in 1997 to broaden her horizons, in films including André Téchiné’s The Girl On The Train in 2009. Film-maker Nir Bergman captured her life in France in his 2010 documentary A Stranger In Paris, for a TV series about Israeli ‘cultural heroes’. “The series’ producers weren’t sure she could be already considered a cultural hero at that time,” Bergman says. “But I said for me she was a cultural hero because the relationship she and Shlomi had written in their trilogy was the best depiction of a relationship ever written in Hebrew. The amazing thing

‘I read the Gett screenplay in bed and I nearly fell out. It was as if the bed wasn’t big enough to contain my excitement’ Sandrine Brauer, Elzevir & Cie

about their work is that they made films which touched arthouse and mainstream audiences and not a lot of film-makers can do that.” Bergman describes Elkabetz’s early days in France as a “Cinderella tale”. Back home, her star was rising with roles in the comingof-age tale Sh’Chur and Amos Gitai’s Metamorphosis Of A Melody. In Paris, she famously cleaned toilets at Ariane Mnouchkine’s Theatre du Soleil, as part of the process to win a place at the stage company, and waitressed on the side to support herself. It was just like Elkabetz not to take the easy route, notes Bergman. “She was quite extraordinary. She had no limits to how she perceived herself or her career. She was always open to more and more options,” he says. “When I look back at the time I spent with her in Paris, it was like being caught up in a hurricane. She was always so, so busy, always had so much s going on. It was hard to keep up.” n Jerusalem Film Festival is screening To Take A Wife on Thursday, July 14, in memory of Ronit Elkabetz. It will be followed by a conversation with her brother, Shlomi Elkabetz. A selection of her film’s will also be shown as free screenings at The First Station.

July 7, 2016 Screen International at Jerusalem 9

Book your advertising now Contact Gunter Zerbich

+44 7540 100254

gunter.zerbich@screendaily.com

AGUSTIN ALMODOVAR INTERVIEW

A woman’s

world

Pedro Almodovar with Adriana Ugarte on the set of Julieta

Pedro Almodovar’s Julieta opens the festival today as a tribute to the inspirational women of Israeli cinema. Elisabet Cabeza speaks to Pedro’s brother and producing partner Agustin

edro Almodovar’s 20th film Julieta, his first since I’m So Excited!, stars Emma Suarez and Adriana Ugarte as older and younger versions of the titular protagonist. A story of grief and hope, the film received critical plaudits on its release in Spain in April and at its international premiere in Competition at Cannes in May. Now it is opening Jerusalem Film Festival (JFF) with an open-air screening at the Sultan’s Pool. It has been selected to pay tribute to two inspirational women of Israeli cinema: actor-writer-director Ronit Elkabetz, who died earlier this year, and the festival’s founder Lia van Leer, who died in 2015. “Pedro Almodovar’s cinema is both very Spanish and universal,” says Agustin Almodovar, Pedro’s brother, producer and business partner in Madrid-based El Deseo. “Pedro has always mixed genres in his films, but with Julieta there’s been a change. It’s a pure drama. If I had to compare it to wine, I’d say it’s single varietal. “My first goal as producer is to find a way for Pedro to make the film he dreams of. He made it and we’re very happy with the result.” Noa Regev, director of Jerusalem Cinematheque and executive director of JFF, says: “We are happy to open this year’s festival with a film by one of the world’s most beloved and acclaimed film-makers in recent dec-

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two other Argentinian directors, Trapero and Lucrecia Martel. They leapt at the chance to work with Trapero on The Clan, also a coproduction with KS, Matanza Cine and Telefonica Studios. El Deseo also produced Martel’s The Headless Woman (in Competition at Cannes in 2008) and is behind her latest feature Zama, now in post-production. Based on a novel by Argentina’s Antonio Di Benedetto, Zama is produced by El Deseo, Benjamin Domenech and Santiago Gallelli from Argentina’s Rei Agustin Almodovar, Cine, Brazil’s Bananeira Filmes El Deseo and France’s MPM Film. Eyes on cinema So far, Argentina has been the The Almodovars are avid cinema-goers, and company’s country of choice, but they make a move when something catches Agustin is not limiting El their eye. It happened with Szifron when Deseo’s horizons. “We they saw his On Probation (2005), as well as are interested in all Latin America. I’m FILMOGRAPHY PEDRO ALMODOVAR very drawn to what 1995 The Flower Of My Secret 1980 Pepi, Luci, Bom Chile is doing,” he 1982 Labyrinth Of Passion 1997 Live Flesh says, describing 1983 Dark Habits 1999 All About My Mother Pablo Larrain’s The 1984 What Have I Done To 2002 Talk To Her Club as a masterDeserve This? piece. “Spain has 2004 Bad Education 1986 Matador to wake up 1987 Law Of Desire 2006 Volver 1988 Women On the Verge Of A because the best 2009 Broken Embraces Nervous Breakdown cinema in Span2011 The Skin I Live In 1990 Tie Me Up! Tie Me Down! ish is nowadays 2013 I’m So Excited! 1991 High Heels being made outAgustin Almodovar dressed for 2016 Julieta 1993 Kika s his cameo appearance in Julieta side Spain.” ■

ades. Like most of Pedro Almodovar’s works, it is focused on female protagonists and deals with women’s power.” Julieta was the fifth of the director’s films to screen in Competition at Cannes (a sixth, Bad Education, opened the festival out of competition in 2004). Now, the Almodovar brothers are using their time on the international festival trail to look for new projects as producers following their successful co-production ventures on Damian Szifron’s Wild Tales and Pablo Trapero’s The Clan.

‘Pedro has always mixed genres in his films, but with Julieta there’s been a change. It’s a pure drama’

July 7, 2016 Screen International at Jerusalem 11

Reviews Reviews edited by Fionnuala Halligan finn.halligan@screendaily.com

Apprentice Reviewed by Lisa Nesselson

Julieta Reviewed by Fionnuala Halligan Pedro Almodovar’s latest feature is an anxious, tantalising creature that returns the Spanish director to the exclusive world of women he last visited in 2006’s Oscar-winning Volver. Full of hints and omens, the sinuous Julieta bears the darker marks of his recent Hitchcockian dramas Broken Embraces and The Skin I Live In, even though it is all about a mother. Almodovar has adapted three short stories from Canadian writer Alice Munro’s collection Runaway, and stitches these into one elusive film. Although the seams may show on a narrative level, and some may find it overcooked, this is a luxurious slide into female neurosis. A grave, fearful woman who is constantly on the verge of being overwhelmed by her mysterious past, Julieta (Emma Suarez) is set to leave Madrid for a life in Portugal with Lorenzo (Dario Grandinetti). It is a chance to begin again, says Julieta, and she will not be coming back. However a chance encounter with Beatriz (Michelle Jenner), a childhood friend of her daughter Antia, throws Julieta off track. She abruptly cancels her plans with Lorenzo and starts to compose a letter to her daughter, explaining the past. The room, and the mood, darkens and swirls. We are thrown back to a night-time train ride in 1989. Julieta, now played by Adriana Ugarte, encounters a strange, aggressive man in her carriage, watches a stag race against the train, and meets Xoan (Daniel Grao), a Galician fisherman whose wife is in a coma. The film then tracks forward to Galicia, where Rossy de Palma is a housekeeper who jealously watches over fisherman Xoan, while sculptor Ava (Inma Cuesta) is his artist friend and occasional sexual partner. Julieta is a teacher of classical studies and Almodovar makes reference to Ulysses as we trip through time, and from Madrid to Galicia and out to her ailing mother and father in Murcia. Once the enfant terrible of Spanish cinema, Almodovar turned 66 last year. While his aesthetic preoccupations curl in a comfortable manner and his thematic obsessions remain — he is now, and always has been, all about his women — Julieta is a sad, grieving counterpart to the brazen antics of Tie Me Up! Tie Me Down!. Mistakes are made and the stakes are high, but life is long, he says, and hope remains.

12 Screen International at Jerusalem July 7, 2016

Opening film

Sp. 2016. 96mins Director Pedro Almodovar Production company El Deseo International sales FilmNation Entertainment, info@wearefilmnation. com Producer Esther Garcia Executive producer Agustin Almodovar Screenplay Pedro Almodovar, based on three short stories by Alice Munro: Chance, Soon and Silence Cinematography Jean-Claude Larrieu Editor Jose Salcedo Production design Antxon Gomez Music Alberto Iglesias Main cast Emma Suarez, Adriana Ugarte, Rossy de Palma, Daniel Grao, Inma Cuesta, Dario Grandinetti, Michelle Jenner

There is a pleasing undertow of culpability humming through every frame of Apprentice and not just because it is set primarily in a penitentiary in Singapore (while the city-state is never named, it is not difficult to figure out where this takes place). Writer-director Boo Junfeng doles out information slowly but confidently as we get to know 28-year-old Aiman (Fir Rahman), a handsome former delinquent and ex-military man freshly hired as a prison guard determined to help rehabilitate prisoners. But being taken under the wing of the prison hangman brings Aiman to the end of his rope, so to speak. Tightly focused and ambitious in its multiple themes, the tale touches on how the death penalty radiates out to affect the living. The question of whether the sins of one’s father should penalise subsequent generations is explored, as is what kind of toll capital punishment may take on those paid to execute the condemned. That may sound like a dreary prospect, but this unshowy and suspenseful story remains lively thanks to the excellent interplay between Aiman and prison hangman Rahim (charismatic veteran Wan Hanafi Su), who has been taking pride in his grisly but necessary profession for 30 years. Aiman lives in cramped quarters with his older sister Suhaila (Mastura Ahmad), who is on the brink of becoming engaged to an Australian suitor after a life of relative hardship. There is something painfully askew in Aiman and Suhaila’s family history; in a follow-up interview for his prison guard job, Aiman tells his superior that his last name differs from that of his biological father because he is an orphan. He claims to be drawn to “discipline” but he is definitely hiding something. The pace at which that narratively potent “something” rears its head makes for consistently compelling viewing. Apprentice conveys a great deal of presumably accurate pragmatic detail about how to hang a human with minimal suffering — how long the rope should be, where the noose knot should align to the neck. Pacing and camera placement when the moment of execution arrives are exemplary. By the film’s end, any attentive viewer is likely to feel implicated.

Panorama

Sing-Ger-Fr-HK-Qat. 2016. 96mins Director Boo Junfeng Production companies Peanut Pictures, Akanga Film Asia, Zhao Wei Films International sales Luxbox (Paris), info@ luxboxfilms.com Producers Raymond Phathanavirangoon, Fran Borgia, Tan Fong Cheng Screenplay Boo Junfeng, from a story by Boo Junfeng and Raymond Phathanavirangoon Cinematography Benoit Soler Editors Natalie Soh, Lee Chatametikool Production design James Page Music Alexander Zekke, Matthew James Kelly Main cast Fir Rahman, Wan Hanafi Su, Mastura Ahmad, Koh Boon Pin, Nickson Cheng, Crispian Chan, Gerald Chew

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Screenings, page 14

The Handmaiden International Competition

Reviewed by Wendy Ide

Little Men Reviewed by Fionnuala Halligan Small and intimate it may be — and Ira Sachs’ Little Men is more compact than his last slow-burn hit Love Is Strange — but there is no end to the discreet pleasures on show here. Viewing the gentrification of Brooklyn through the innocent friendship of two mismatched 13-year-old boys, this is a deftly handled, sparkly little jewel that will find its audience, whatever the mode of delivery. Performances are strong across the board, in roles that are subtly introduced and empathetically played out. The two 13-year-old leads, both cast superbly and played by newcomers Theo Taplitz and Michael Barbieri, are the most touching. The grandfather of awkward teenager Jake (Taplitz) has just died. Visiting his home in Brooklyn, Jake’s father Brian (Greg Kinnear) and mother Kathy (Jennifer Ehle) are met stiffly by Leonor (Paulina Garcia, from Gloria), who runs a small dress shop beneath the house that has now been bequeathed to them. It feels like there is a history here. Leonor’s son, the outgoing Tony (Barbieri), bonds immediately with Jake. They rollerblade and skate, have sleepovers, go to a disco, and talk about attending LaGuardia High School where Jake wants to be an artist and Tony would like to be an actor, like Jake’s jobbing dad. Sachs and co-writer Mauricio Zacharias are spot-on when it comes to capturing the boys’ friendship, and it is always perfectly natural and unforced. But class and money are lurking behind these youthful hopes. Egged on by his sister, Brian would like to get market — or close to market — rent from Leonor, despite her close relationship with his father. Leonor, who hails from Chile and is a single mother to Tony, is proud and prickly. She is no pushover and she is not always nice. Sachs is even-handed here as the story plays out. There are no particular look-at-me money shots of Brooklyn in Little Men, but there is always a strong sense of place throughout as the boys rollerblade and scoot around the ’hood. Sachs keeps his colour palette bright and natural. The remarkable, magical thing about this film is that, at 85 minutes, it is so complete. With its fully formed people and changing places, Little Men is a film a viewer can live in and think about while they are there.

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Panorama

US. 2016. 85mins Director Ira Sachs Production companies Faliro House, Parts & Labor, Race Point Films, Raptor Films, RT Features, Water’s End Productions International sales Mongrel International, charlotte@mongrelmedia. com Producers Lucas Joaquin, Ira Sachs, Christos V Konstantakopoulos, Jim Landé, LA Teodosio Executive producers Jay Van Hoy, Lars Knudsen Screenwriters Mauricio Zacharias, Ira Sachs Cinematographer Oscar Duran Editors Mollie Goldstein, Affonso Goncalves Music Dickon Hinchliffe Main cast Greg Kinnear, Jennifer Ehle, Paulina Garcia, Theo Taplitz, Michael Barbieri

Park Chan-wook transposes Sarah Waters’ sapphic Victorian potboiler Fingersmith to Japanese-occupied Korea at the beginning of the 20th century. And the fit is as perfect as one of the svelte, elbow-length kid-leather gloves, which become such a potent visual motif in a film that feels like a compendium of erotic imagery. Park downplays some of the complexity of the novel and ups the ante on the sadomasochism, plunging us into an alarmingly well-equipped torture chamber at a pivotal moment. But the film manages the tricky feat of staying true to Waters’ breathless, page-turning prose and creating a wholly persuasive new milieu for the story. The combination of playful humour, photogenic sex, exemplary costume design and an undertone of baroque cruelty makes this a title with strong commercial potential. The lesbian theme may limit its exposure in the more conservative global markets, but this should otherwise have broad appeal. The Handmaiden is a quality package, which ticks plenty of the boxes for breakout success. The characters are introduced in the first of two chapters. Sooki (Kim Tae-ri), the orphaned Korean daughter of a thief and an accomplished pickpocket herself, is leaving the thieves’ den to become a maid for Hideko (Kim Minhee), an innocent Japanese woman who lives in isolation with an uncle who hopes to marry her for the inheritance. Sooki is part of a plan, formulated by an unscrupulous con-man known as the Count (Ha Jung-woo), to lure Hideko into marriage, steal her inheritance and then lock her in an asylum. But there is a hitch: a frisson of attraction between Sooki and her mistress boils over into an urgent, exquisitely choreographed sexual relationship. Part two retells the story from Hideko’s point of view, and we learn she is not quite the guileless little cherry blossom that we initially assume. The film is a technical triumph. The ornate production design of Hideko’s home is filled with hints of dark perversion. Costumes are a lavish delight, combining a fetish-infused formality with a rich colour palette. Everything in this world becomes charged with a double meaning, from the buttons on Hideko’s blouse, to those gloves, to the thimble that Sooki uses to file the sharp edge from one of Hideko’s teeth.

S Kor. 2016. 145mins Director Park Chan-wook Production company Moho Film, Yong Film International sales CJ Entertainment, kini@cj.net Producers Syd Lim, Park Chan-wook Screenplay Park Chanwook, Chung Seo-kyung from Fingersmith by Sarah Waters Cinematography Chung Chung-hoon Editors Kim Sang-bum, Kim Jae-bum Production design Ryu Seong-hee Music Cho Young-wuk Main cast Kim Min-hee, Kim Tae-ri, Ha Jung-woo, Cho Jin-woong

July 7, 2016 Screen International at Jerusalem 13

Screenings Edited by Paul Lindsell

» Screening times and venues are correct at the time of going to press but subject to alteration.

paullindsell@gmail.com

accepts the position, but his conscience and family history soon haunt him.

Thursday July 7 10:00 Wrong Elements

Panorama Cinematheque 1

(France, Belgium, Germany) Le Pacte. 132mins. Dir: Jonathan Littell. The Lord’s Resistance Army is a violent guerilla movement, established in Uganda in the late 1980s, which kidnapped and forcibly conscripted more than 60,000 teenagers. In an effort to rebuild their lives, four people revisit the places that had stripped them of their childhood.

20:00 Julieta

(Spain) FilmNation. 99mins. Dir: Pedro Almodovar. Key cast: Adriana Ugarte, Emma Suarez, Rossy de Palma, Daniel Grao. Tells the story of Julieta, a mother who discovers a new piece in the puzzle of her daughter’s disappearance years ago. A spectacular, captivating and exciting cinematic celebration.

Spirit of Freedom Cinematheque 3

10:30

Gala Sultan

Don’t Blink — Robert Frank

(Canada, US) Laura Israel. 80mins. Dir: Laura Israel. Key cast: Robert Frank, June Leaf, Tom Jarmusch, Ed Lachman. This documentary portrait of Robert Frank, who achieved fame with his 1958 photography book ‘The Americans’ and went on to become one of the most influential figures in contemporary photography, was directed by Laura Israel, Frank’s film editor since the 1990s. Panorama Cinematheque 3

12:15

20:30 Bang Gang See box, left

22:00 French Blood

Thursday July 7 20:30 Bang Gang

(France) Films Distribution. 98mins. Dir: Eva Husson. Key cast: Finnegan Oldfield, Marilyn Lima, Daisy Broom, Lorenzo Lefebvre, Fred Hotier. To win her sweetheart’s attention, a beautiful girl decides to test the

sexual boundaries of their relationship, leading to a series of wild sex parties. Eva Husson’s debut feature takes a fascinating, disturbing and uncompromising look at a group of uninhibited teenagers.

the French dancer and choreographer behind Black Swan, was appointed director of the Paris Opera Ballet in 2014. This documentary follows the rehearsals of his first production, depicting a fascinating artist and the multitude of challenges that he faces.

Debuts Cinematheque 3

Gala Cinematheque 3

The White Knights

(Belgium, France) Indie Sales. 112mins. Dir: Joachim Lafosse. Key cast: Vincent Lindon, Valerie Donzelli, Reda Kateb, Louise Bourgoin. A group of volunteers head out to Africa to find 300 orphans to take to France for adoption. They soon face the limitations of humanitarian intervention. Esteemed director Joachim Lafosse examines the fine line between humanitarianism and paternalistic colonialism. Spirit of Freedom Cinematheque 3

12:30 Don’t Call Me Son

(Brazil) Loco Films.

16:45

82mins. Dir: Anna Muylaert. Key cast: Naomi Nero, Daniel Botelho, Daniela Nefussi, Matheus Nachtergaele. Pierre, a teenager who is preoccupied with discovering his sexual identity, realises that he was abducted as a baby when his biological family arrives suddenly to reclaim him.

Pascual, Hazel Orencio, Alessandra De Rossi. Esteemed Filipino director Lav Diaz embarks on a journey into his homeland’s elaborate history in this complex piece that offers a challenging, yet uniquely rewarding, eight-hour viewing experience. Winner of the Alfred Bauer prize at the Berlin Film Festival in February.

Panorama Cinematheque 2

Masters Cinematheque 2

14:15 A Lullaby to the Sorrowful Mystery

(Philippines, Singapore) Films Boutique. 485mins. Dir: Lav Diaz. Key cast: John Lloyd Cruz, Piolo

14 Screen International at Jerusalem July 7, 2016

14:30 Reset

(France) Upside Distribution. 107mins. Dir: Alban Teurlai, Thierry Demaiziere. Benjamin Millepied,

Hitchcock/Truffaut

(France, US) Cohen Media Group. 79mins. Dir: Kent Jones. Key cast: Alfred Hitchcock, Francois Truffaut, Wes Anderson, Kiyoshi Kurosawa, David Fincher. Kent Jones’ documentary, based on Truffaut’s 1962 week-long interview with Alfred Hitchcock, plunges us into the world of the great British auteur. The film combines archival material and interviews with Martin Scorsese, Kiyoshi Kurosawa, Richard Linklater and other leading film-makers. Cinemania Cinematheque 3

18:30 The First, the Last

(France, Belgium) Wild Bunch. 98mins. Dir: Bouli Lanners. Key cast: Albert Dupontel, Bouli Lanners, Suzanne Clement, Michael Lonsdale. Two bounty hunters search in the French countryside for a cellphone containing some very sensitive information. In his fourth film as director, Bouli Lanners spins a suspense story aided by excellent acting, plenty of absurd humour and stylized directing. Panorama Cinematheque 3

19:30 Apprentice

(Singapore, Germany, France) Luxbox. 115mins. Dir: Boo Junfeng. Key cast: Fir Rahman, Wan Hanafi Su, Mastura Ahmad. Aiman, a young correctional officer, is transferred to a top security prison. When the personal assistant to the chief executioner quits, he

(France) Indie Sales. 98mins. Dir: Diasteme. Key cast: Alban Lenoir, Paul Hamy, Samuel Jouy, Patrick Pineau. Marco is a skinhead who hates Arabs, Jews, blacks and gays. It will take him 30 years to rid himself of his anger and become a changed man. This engrossing drama takes a critical look at some troubling aspects of French society. Panorama Cinematheque 1

22:30 Suntan

(Greece) Visit Films. 104mins. Dir: Argyris Papadimitropoulos. Key cast: Makis Papadimitriou, Elli Tringou, Milou Van Groessen, Dimi Hart, Hara Kotsali. A middle-aged doctor on a tiny Greek island falls for a frivolous girl and will do anything to win her heart. The rediscovery of his longlost youth turns slowly into an obsession. Argyris Papadimitropoulos’s latest film is a bold yet sensitive piece. Panorama Cinematheque 3

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Further JFF coverage, see screendaily.com

Friday July 8 09:15

10:45 Agnus Dei

(Netherlands, Belgium) Atoms & Void. 74mins. Dir: Sergei Loznitsa. By weaving together amateur footage and archival materials, acclaimed Ukrainian director Sergei Loznitsa returns to the August Putsch, the failed coup d’etat staged by communist reactionaries in Moscow in 1991, that led to the collapse of the Soviet regime.

(France, Poland) Films Distribution. 115mins. Dir: Anne Fontaine. Key cast: Lou de Laage, Agata Buzek, Agata Kulesza, Vincent Macaigne. Poland, 1945. A French Red Cross doctor on a humanitarian mission discovers a number of pregnant nuns in need of medical care. This drama deals with the crisis of faith that arises when the house of God is desecrated by war.

Masters Cinematheque 1

Spirit of Freedom Smadar

The Event

09:30

11:00

11:30 Long Night of Francisco Sanctis

(Argentina) Films Boutique. 78mins. Dir: Francisco Marquez, Andrea Testa. Key cast: Diego Velazquez, Laura Paredes, Valeria Lois, Marcelo Subiotto. In 1977 Buenos Aires, a man learns of a planned abduction operation by the dictatorship. Racing against time, he must decide whether to risk his life to save these people. This intelligent debut won the best film prize at Buenos Aires Independent Film Festival. Debuts Cinematheque 2

A Man and a Woman

Julieta

(France) Hollywood Classics. 102mins. Dir: Claude Lelouch. Key cast: Anouk Aimee, Jean-Louis Trintignant, Pierre Barouh, Valerie Lagrange. Jean-Louis Trintignant and Anouk Aimee portray a young widow and widower whose relationship is disturbed by memories of the past. A newly restored copy of Claude Lelouch’s melodrama, which 50 years ago was awarded the Palme d’Or and two Oscars.

(Israel) Stav Meron, Michael Alalu. 60mins. Dir: Michael Alalu. Pepe Alalu, 70, head of Meretz in Jerusalem, is dreaming of being the Mayor. Michael, 30, his son, is coming back from Tel Aviv to help him. Together they will make a journey in the most complex city in the world.

Gala Cinematheque 1

Israeli Cinematheque 3

11:45 Pepe’s Last Battle

13:15 Aquarius

(Brazil) SBS International. 142mins. Dir: Kleber Mendonca Filho. Key cast: Sonia Braga, Julia Bernat, Humberto Carrao. Clara, the last resident of a seafront condo in Recife, Brazil, finds herself in a nerve-wracking confrontation with a realestate company that is trying to buy the building. Spirit of Freedom Cinematheque 2

Slack Bay

(Germany, France) Memento Films. 122mins. Dir: Bruno Dumont. Key cast: Fabrice Luchini, Juliette Binoche, Valeria Bruni-Tedeschi. A sardonic tale with outlandish characters is at the centre of French master Bruno Dumont’s latest film. Masters Smadar

13:30 From the Diary of a Wedding Photographer

(Israel) Pie Films. 40mins. Dir: Nadav Lapid. Key cast: Ohad Knoller, Naama Preis,

Dan Shapira, Jacob Zada Daniel, Alina Levy. A wedding photographer marries one bride, kills another and returns home. Israeli Cinematheque 3

We Had a Forest See box, below

14:45 Right Now, Wrong Then

(South Korea) Finecut. 121mins. Dir: Hong Sang-soo. Key cast: Jung Jaeyoung, Kim Min-hee. The Golden Leopard winner at Locarno brings two versions of the same chance encounter between a renowned director and a young female artist, which turns into a romantic day together. Hong Sangsoo serves a clever and touching everyday tale. Masters Cinematheque 3

15:30 Sparrows

(Iceland, Denmark, Croatia) Versatile. 99mins. Dir: Runar Runarsson. Key cast: Atli Oskar Fjalarsson, Ingvar E Sigurdsson, Kristbjorg Kjeld, Rakel Bjork Bjornsdottir.

Classic Cinematheque 2

09:45 Little Men

(US) Mongrel. 85mins. Dir: Ira Sachs. Key cast: Greg Kinnear, Jennifer Ehle, Paulina Garcia, Theo Taplitz, Michael Barbieri. A legal dispute between two families in Brooklyn threatens the friendship between their sons.

www.screendaily.com

15:45 11 Minutes

(Poland, Ireland) Hanway Films. 81mins. Dir: Jerzy Skolimowski. Key cast: Richard Dormer, Paulina Chapko, Wojciech Mecwaldowski, Andrzej Chyra. The life of a jealous husband spins out of control when his wife meets a slick Hollywood director. Myriad characters soon join the party, triggering a fateful chain of events. Masters Smadar

16:15 Tower

(US) Cinetic Media. 96mins. Dir: Keith Maitland. In August, 1966, a sniper climbed to the top of a tower at the University of Texas at Austin and committed a horrifying massacre. Keith Maitland combines archival footage with rotoscope animation to revive a grim day in US history.

17:15 Indignation

Oscar Shorts 2016

Shorts Cinematheque 4

Intl Comp Cinematheque 1

Spirit of Freedom Cinematheque 2

Panorama Cinematheque 3

107mins. An opportunity to see the five nominees for the Academy Award for best live-action short film, on the big screen: Ave Maria, Day One, Everything Will Be Okay, Shok and Stutterer.

Sixteen-year-old Ari is sent from Reykjavik to live with his father in rural Iceland. There, between towering mountains and breathtaking fjords, he has to navigate his difficult relationship with his father. Winner of the prestigious Golden Shell prize at San Sebastian International Film Festival.

Friday July 8 13:30 We Had a Forest

(Israel) Guy Raz. 80mins. Dir: Guy Raz. Key cast:

Yaron Mottola, Liron Weissman, Menashe Noy, Maya Maron. Heading out to a stressful

day at work, devoted family man Mori is completely unaware of the tragic mistake he has

just made. Touches on an unfathomable and horrifying human failing. Israeli, Cinematheque 1

(US) FilmNation. 110mins. Dir: James Schamus. Key cast: Logan Lerman, Sarah Gadon, Tracy Letts, Linda Emond. In 1951 America, an idealistic Jewish student heads to a small, conservative Ohio college. Though he achieves academic success, he also faces antisemitism, oppression and sexual repression. A refined, » highly acclaimed

July 7, 2016 Screen International at Jerusalem 15

Screenings

adaptation of Philip Roth’s novel Indignation.

Saturday July 9

Gala Cinematheque 3

09:30 The Red Turtle

17:30

(France, Japan) Wild Bunch. 80mins. Dir: Michael Dudok de Wit. This dialogue-free animated film depicts a man stranded on a desert island inhabited by turtles, scorpions and birds. The debut feature by Michael Dudok de Wit, produced by Hiyao Miyazaki’s Ghibli Studio, won the Un Certain Regard Special Jury prize at Cannes.

The First Monday in May

(US) Elle Driver. 90mins. Dir: Andrew Rossi. Key cast: Andrew Bolton, Wong Kar Wai, Karl Lagerfeld, Jean Paul Gaultier, John Galliano. The tension between art and commerce in the fashion world is exposed in this documentary that follows the production of the Met’s 2015 fashion exhibit and the preparations for ‘Vogue’ editor-in-chief Anna Wintour’s gala, attended by the biggest celebrities in their finery. Gala Smadar

Short Matters! #1

81mins. Short films that were nominated to the European Film Academy: Dissonance (Germany), E.T.E.R.N.I.T (France), Field Study (UK), Kung Fury (Sweden). Shorts Cinematheque 4

17:45 Weiner

(US) Dogwoof. 96mins. Dir: Josh Kriegman, Elyse Steinberg. The winner of the Grand Jury prize for documentary at Sundance Film Festival presents an intelligent and amusing portrait of former Congressman Anthony Weiner, as he runs for mayor of New York, exposing politics in the age of digital media. Intl Comp Cinematheque 1

18:15 Album See box, above

19:15 Short Matters! #2

97mins. Short films nominated to the European Film Academy: Listen (Denmark, Finland), Our Body (Serbia, Bosnia & Herzegovina, Germany), Over (UK), Picnic (Croatia), Smile, And The World Will Smile Back

Panorama Cinematheque 1

The White Knights

Friday July 8 18:15 AlbÜm

(Turkey, France, Romania) The Match Factory. 105mins. Dir: Mehmet Can Mertoglu. Key cast: Sebnem Bozoklu, Murat Kilic, Rıza Akın, Mihriban Er.

(Israel, Palestine), Son Of The Wolf (France). Shorts Cinematheque 4

19:30

A couple in the process of adoption fake a pregnancy album to hide their fertility problems. Adoption, however, can be a long process when the parents are picky.

Debuts Smadar

20:00 The Handmaiden

(South Korea) CJ Entertainment. 144mins. Dir: Park Chan-wook. Key cast: Kim Min-hee, Ha Jung-woo, Kim Haesook, Kim Tae-ri. Takes us to Japanese-

16 Screen International at Jerusalem July 7, 2016

Panorama Cinematheque 2

21:15 Short Matters! #3

occupied Korea in the 1930s, where a handmaiden assists a swindler in duping her mistress.

104mins. Short films nominated to the European Film Academy: Symbolic Threats (Germany), The Runner (Spain), The Translator (UK, Turkey), This Place We Call Home (Denmark), Washingtonia (Greece).

Intl Comp Cinematheque 3

Shorts Cinematheque 4

Debuts Cinematheque 2

Family Film

(Czech, France, Germany, Slovenia, Slovakia) Cercamon. 95mins. Dir: Olmo Omerzu. Key cast: Karel Roden, Vanda Hybnerova, Daniel Kadlec, Jenovefa Bokova. A married couple embark on a sailing holiday, leaving behind their son and daughter. The yacht capsizes, their dog disappears and the family face a crisis. This smart drama was a hit at festivals last year.

but mainly encounters complex relationships.

Saving Neta

(Israel) United Channel Movies. 90mins. Dir: Nir Bergman. Key cast: Benny Avni, Rotem Abuhav, Irit Kaplan, Naama Arlaky, Neta Riskin. Four women whose lives are in turmoil encounter a mysterious stranger, Neta, whose honesty and vulnerability will help them reconnect with their dearest ones, their families. Israeli Cinematheque 1

20:45 Staying Vertical

(France) Wild Bunch. 100mins. Dir: Alain Guiraudie. Key cast: Damien Bonnard, Raphael Thierry, Basile Meilleurat. An enchanting film about a film-maker who searches for a sense of belonging

21:45 Sieranevada

(Romania, France, Bosnia and Herzegovina, Croatia, Republic of Macedonia) Elle Driver. 173mins. Dir: Cristi Puiu. Key cast: Mimi Branescu, Judith State, Bogdan Dumitrache, Dana Dogaru, Sorin Medeleni. Depicts the Romanian middle class through nearly three hours in a tumultuous Bucharest apartment where a family gathers to commemorate a deceased patriarch. Intl Comp Smadar

22:00 Pulp Fiction

(US) Forum Film. 153mins. Dir: Quentin Tarantino. Key cast: John Travolta, Uma Thurman, Samuel L Jackson.

Quentin Tarantino, the renowned American film-maker, comes to the festival for a conversation with the audience and a special screening. Special Cinematheque 1

22:45 Eat That Question — Frank Zappa in His Own Words

(France, Germany) Sony Pictures Classics. 90mins. Dir: Thorsten Schutte. This in-depth look at the life and work of Frank Zappa mixes different archival materials — mainly interviews and forgotten concerts — to invite us to delve into Zappa’s musical world and outrageous mind. Panorama Cinematheque 2

23:00 The Neon Demon

(France, US, Denmark) Wild Bunch. 110mins. Dir: Nicolas Winding Refn. Key cast: Elle Fanning, Karl Glusman, Jena Malone, Bella Heathcote. Jessie arrives in Los Angeles and rises to stardom in the modelling industry. However, her beauty becomes the source of jealousy for those around her who will stop at nothing to steal it away from her. Into the Night Cinematheque 3

(Belgium, France) Indie Sales. 112mins. Dir: Joachim Lafosse. Key cast: Vincent Lindon, Valerie Donzelli, Reda Kateb, Louise Bourgoin. A group of volunteers heads out to Africa to find 300 orphans to take to France for adoption. They soon face the limitations of humanitarian intervention. Esteemed director Joachim Lafosse examines the fine line between humanitarianism and paternalistic colonialism. Spirit of Freedom Cinematheque 3

10:00 Notes on Blindness

(UK) Cinephil. 90mins. Dir: Peter Middleton. Key cast: Dan Skinner, Simone Kirby. An extraordinary documentary featuring theologian John Hull who, from 1983-86, recorded a series of audio diaries that documented his descent into blindness. The film combines these recordings with interviews and stunning dramatisations that reveal a sharp, fascinating and sensitive man. Panorama Cinematheque 2

11:00 Winter Song

(France, Georgia) Films du Losange. 117mins. Dir: Otar Iosseliani. Key cast: Rufus, Amiran Amiranashvili, Mathias Jung. www.screendaily.com

Otar Iosseliani’s latest film is an acrobatic piece that shifts incessantly between stories, characters and eras. The Georgian-French maestro combines tragedy and comedy to produce an impressive piece that creates a new world while keeping an eye on our present reality. Masters Smadar

11:15 Rara

(Chile, Argentina) Latido. 88mins. Dir: Pepa San Martin. Key cast: Mariana Loyola, Agustina Munoz, Julia Lubbert, Emilia Ossandon. As Sara’s 13th birthday approaches, she is feeling overwhelmed by her first crush, changing body and the disputes between her two mothers and her biological father. Winner of the Grand Prix of the Generation section at Berlin Film Festival. Debuts Cinematheque 1

11:45 AlbÜm

(Turkey, France, Romania) The Match Factory. 105mins. Dir: Mehmet Can Mertoglu. Key cast: Sebnem Bozoklu, Murat Kilic, Rıza Akın, Mihriban Er. See synopsis, left.

two old friends reunite for a few days in Madrid.

Michael Alalu. 60mins. Dir: Michael Alalu.

Gala Cinematheque 1

Israeli Cinematheque 2

13:30 The First, the Last

14:00 The Last Laugh

(US) Amy Hobby. 90mins. Dir: Ferne Pearlstein. Key cast: Mel Brooks, Carl Reiner, Sarah Silverman, Gilbert Gottfried, Rob Reiner. Is the Holocaust an appropriate topic for comedy? This question is at the heart of this documentary, which weaves together the story of a survivor of the horrors alongside interviews with influential comedians and thinkers. Panorama Cinematheque 3

Pepe’s Last Battle

(Israel) Stav Meron,

Women Who Run Hollywood

(US) Poorhouse International. 52mins. Dir: Clara Kuperberg, Julia Kuperberg. Key cast: Paula Wagner, Sherry Lansing, Lynda Obst, Cari Beauchamp. Did you know that the first talkie and the first colour film were both directed by women? Through rare archival materials and interviews, this documentary seeks to restore the women who ran Hollywood to their rightful place in the pantheon of cinema. Cinemania Cinematheque 4

15:15 The 1000 Eyes of Dr Maddin

(France, US) Taskovski Films. 65mins. Dir: Yves Montmayeur. Key cast: Guy Maddin, Isabella Rossellini, Udo Kier, Kenneth Anger, John Waters. The winner of the best documentary on cinema prize at Venice Film Festival follows the making of Guy Maddin’s

‘The Forbidden Room’, depicting a one-of-akind director whose hypnotic films feature influences from German expressionism and classic melodramas, to David Lynch. Cinemania Cinematheque 4

15:30 A Monster with a Thousand Heads

(Mexico) Memento Films. 74mins. Dir: Rodrigo Pla. Key cast: Jana Raluy, Sebastian Aguirre Boeda, Hugo Albores. When her insurance company refuses to sign off on her husband’s lifesaving treatment, Sonia declares an all-out war against the system.

Wolf and Sheep

(Denmark) Alpha Violet. 86mins. Dir: Shahrbanoo Sadat. Key cast: Ali Khan Ataee, Amina Musavi, Masuma Hussaini, Qodratollah Qadiri. This film takes us to rural Afghanistan, where imaginative stories are told to explain the mysteries of the world. Debuts Smadar

16:15 Photo Faraj See box, below

16:45 Harold and Lilian: A Hollywood Love Story

(France) Films du Losange. 100mins. Dir: Mia Hansen-Love. Key cast: Isabelle Huppert, Andre Marcon, Roman Kolinka, Edith Scob, Sarah Le Picard. The story of a high school philosophy teacher who resolves to reinvent her life when her husband leaves.

(US) Wide House. 96mins. Dir: Daniel Raim. Key cast: Harold Michelson, Lillian Michelson, Francis Ford Coppola, Mel Brooks. A fascinating documentary portrait of storyboard artist Harold Michelson and cinema researcher Lillian Michelson — an extraordinary couple who worked with some of the most influential directors in film history and were often referred to as Hollywood’s secret weapon.

Intl Comp Cinematheque 1

Cinemania Cinematheque 4

Spirit of Freedom Cinematheque 2

Things to Come

17:30 A German Life

(Austria) Cinephil. 107mins. Dir: Christian Krones, Florian Weigensamer, Roland Schrotthofer, Olaf S Muller. One hundred and fouryear-old Brunhilde Pomsel, the stenographer of Nazi minister for propaganda Joseph Goebbels from 1942 to the end of the war, relates for the first time her life story. Her experiences raise the troubling and timeless question: how reliable is our moral compass?

Love & Friendship

(Ireland, Netherlands, France, US) Protagonist Pictures. 92mins. Dir: Whit Stillman. Key cast: Kate Beckinsale, Chloe Sevigny, Xavier Samuel, Emma Greenwell. A comic adaptation of Jane Austen’s novel about a beautiful widow searching for a match for her daughter, and perhaps one for herself.

Saving Neta

Gala Cinematheque 1

18:00

Israeli, Cinematheque 2

Zero Days

13:15

www.screendaily.com

Israeli Cinematheque 2

17:45

12:00

Truman

We Had a Forest

(Israel) Guy Raz. 80mins. Dir: Guy Raz. Key cast: Yaron Mottola, Liron Weissman, Menashe Noy, Maya Maron. Heading out to a stressful day at work, devoted family man Mori is completely unaware of the tragic mistake he has just made. Touches on an unfathomable and horrifying human failing.

Panorama Smadar

Debuts Cinematheque 3

(Spain, Argentina) Filmax. 108mins. Dir: Cesc Gay. Key cast: Ricardo Darin, Javier Camara, Dolores Fonzi, Troilo. Touching drama, in which

17:15

Saturday July 9 16:15 Photo Faraj

(Israel) Inosan Productions. 77mins.

Dir: Kobi Faraj. The emotional tale of a big family from Iraq who emigrated to Israel

and revolutionised photography, from their rise to their downfall. Nephew Kobi Farag tells

the story of this family of photographers. Israeli Cinematheque 3

(US) FilmNation. 116mins. Dir: Alex Gibney. A journey into the heart of cyber warfare in the form of an uncontrollable, malicious computer virus,

July 7, 2016 Screen International at Jerusalem 17

Screenings

Jerusalem Cinematheque, 11 Hebron Rd, Jerusalem, 91083 Editorial Editor Matt Mueller, matt. mueller@screendaily. com, +44 7880 526 547 Reporters Melanie Goodfellow, melanie.goodfellow@ btinternet.com, +44 7460 470 434 Tom Grater, tom.grater@ screendaily.com, +44 7436 096 420 Reviews editor and chief film critic Fionnuala Halligan, finn. halligan@screendaily.com

Saturday July 9 22:00 Suntan

(Greece) Visit Films. 104mins. Dir: Argyris Papadimitropoulos. Key cast: Makis Papadimitriou, Elli Tringou, Milou Van Groessen, Dimi Hart, Hara Kotsali.

co-developed by Israel and the US for the sole purpose of sabotaging the Iranian nuclear project. Gala Cinematheque 3

19:00 Bernadette Lafont, and God Created the Free Woman

(France) Doc&Film. 65mins. Dir: Esther Hoffenberg. This inspiring documentary about Bernadette Lafont traces the French star’s personal and professional life, from her work as a pin-up girl, through to her status as the sensual movie star of the New Wave, and her unforgettable role in ‘Paulette’. Cinemania Cinematheque 4

19:15 Endless Poetry

(Chile, Japan, France) Le Pacte. 128mins. Dir: Alejandro Jodorowsky. Key cast: Adan Jodorowsky, Pamela Flores, Brontis

Lolo

A middle-aged doctor on a tiny Greek island falls for a frivolous girl and will do anything to win her heart. The rediscovery of his longlost youth turns slowly into an obsession. Panorama Cinematheque 2

Jodorowsky, Leandro Taub. In this autobiographical feature by Alejandro Jodorowsky, the young Alejandro decides to become a poet against his parents’ wishes and delves into an enticing world of freedom, sensuality and madness. Masters Cinematheque 2

20:00 Death in Sarajevo

(France, Bosnia and Herzegovina) The Match Factory. 85mins. Dir: Danis Tanovic. Key cast: Jacques Weber, Snezana Vidovic, Izudin Bajrovic, Vedrana Seksan, Muhamed Hadzovic. Oscar winner Danis Tanovic adapts BernardHenri Lévy’s play about a tempestous day in Sarajevo’s finest hotel. As the hotel’s manager prepares a European Union Gala, the hotel staff plan a strike. Intl Comp Cinematheque 1

18 Screen International at Jerusalem July 7, 2016

(France) Wild Bunch. 99mins. Dir: Julie Delpy. Key cast: Julie Delpy, Dany Boon, Vincent Lacoste, Karin Viard. Violette, a chic Parisian, falls for Jean-Rene, an IT geek. Cultural differences and Violette’s son Lolo are not making things easy for the love birds. Gala Smadar

20:15 Kindergarten

(Israel) Doc Films. 75mins. Dir: Era Lapid, Haim Lapid. Depicts the ease with which people can ruin the lives of a kindergarten teacher and her family with one hasty accusation of child abuse. It is also about how people’s greatness or baseness is revealed in times of trouble. Israeli Cinematheque 3

20:30 Indignation

acclaimed adaptation of Philip Roth’s novel Indignation. Gala Wilf

20:45 In Jackson Heights

(US) Zipporah Films. 190mins. Dir: Frederick Wiseman. In his 40th film, documentary giant Frederick Wiseman takes viewers to one of America’s most ethnically and culturally diverse neighbourhoods — Jackson Heights in Queens, New York — raising piercing questions on integration, assimilation, immigration and cultural and religious differences. Masters Cinematheque 4

22:00 A War

(Denmark) Studiocanal. 115mins. Dir: Tobias Lindholm. Key cast: Pilou Asbæk, Tuva Novotny, Soren Malling, Charlotte Munck, Dar Salim. A Danish commander, caught in a crossfire with his men in Afghanistan, makes a fatal decision that will affect both him and his family back home.

Yaesh. Key cast: Moris Cohen, Rotem ZismanCohen, Haim Znati. Ovadya Rachamim is a club bouncer. His biggest dream is to become a father, and he is ready to “kill” for it. Israeli Cinematheque 1

Suntan See box, above left

22:15 Captain Fantastic

(US) Sierra/Affinity. 118mins. Dir: Matt Ross. Key cast: Viggo Mortensen, Frank Langella, George MacKay, Kathryn Hahn, Steve Zahn. A father raising his six kids in the forest is forced to leave his secluded paradise. The family’s journey into civilisation challenges his idea of parenthood. Gala Cinematheque 3

Sub editors Paul Lindsell, Richard Young Advertising International sales consultant Gunter Zerbich, gunter. zerbich@screendaily.com, +44 7540 100 254 Publishing director Nadia Romdhani, nadia.romdhani@ screendaily.com Senior sales manager Scott Benfold, scott. benfold@screendaily.com Production manager Jonathon Cooke, jonathon.cooke@ mb-insight.com, +44 7584 333 148 Managing director, publishing and events Alison Pitchford Chief executive, MBI Conor Dignam

22:30 11 Minutes

Our Father

(Israel) Transfax. 105mins. Dir: Meni

Masters Wilf

Intl Comp Smadar

Group head of production and art Mark Mowbray, mark. mowbray@screendaily. com, +44 7710 124 065

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