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THURSDAY JULY 16 — SUNDAY JULY 19, 2015
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All pictures by Nir Shaanani
Atia, Hamoud, Shumunov triumph at Pitch Point Ira Deutchman
Deutchman foresees shake-up in distribution BY MATT MUELLER
At his Pitch Point panel on Tuesday, veteran US producer and distributor Ira Deutchman declared that independent companies will continue to lead the charge on the window experimentation shaking up the US distribution landscape. While he described as “designed to fail” the recent deal between Paramount Pictures and AMC Theatres to reduce the exclusive window between theatrical release and other platforms — considered sacrosanct by US exhibitors — from three months to two weeks for two upcoming releases, he also stressed that studios are watching the adventurous models being tested out by independent distributors. “The reality is that Paramount picked two really bad movies that weren’t likely to do good business either theatrically or on VoD,” said Deutchman. Nonetheless, he said it was a sign studios are testing the waters, adding that Ultra VoD, which sees a film released on VoD before its theatrical release at a premium price, is “the business the studios really want to be in”. “The potential is there to create a lot of word of mouth about a movie during its VoD release and then use that to release the film in cinemas,” he said. “The studios think they can make a fortune by allowing big family-oriented movies on VoD prior to theatrical. The only reason they’re not already doing it is because exhibitors are kicking up a fuss.” Deutchman was joined on the panel by Israeli distributor Yaron Kaftori, who noted Israel differs from the US in that there is no insistence on a VoD window. “In some cases in Israel, it might be better for a director or producer to release the movie themselves,” said Kaftori.
BY MELANIE GOODFELLOW
Debut feature directors Yossi Atia, Maysaloun Hamoud and Roman Shumunov have picked up prizes at the 10th edition of Pitch Point, aimed at connecting Israeli productions with international partners. Performance artist and filmmaker Atia’s Born In Jerusalem And Still Alive won the $4,400 Wouter Barendrecht — Lia Van Leer award. A dark comedy based on Atia’s personal experiences, the film revolves around a man who organises terror tours along Jaffa Road in west Jerusalem, the site of a number of deadly suicide attacks during the second Intifada. The jury — which included US distribution guru Ira Deutchman, Fortissimo Films’ MD
Nelleke Driessen and German producer Thanassis Karathanos — praised the project for its “unique and original take on a tough and emotional subject matter.” Shumunov clinched the $5,300 Van Leer Foundation award for No Future, about Israeli rappers and graffiti artists of Russian origin struggling to make ends meet in the city of Ashdod. “The film has the potential to be a unique, sensitive and authentic voice of an important ethnic group in Israel,” said the jury. Palestinian director Maysaloun Hamoud’s In Between picked up two prizes: the Turkish YAPIMLAB Award, offering development support of $5,500, and the IFP Award, which involves an invitation to the
Independent Film Market Project in New York this September. Israeli film-maker and producer Shlomi Elkabetz is producing the tale of two liberal Palestinian girls living in Tel Aviv, struggling to find their place in society. Hamoud told the pitching event that the work was a reflection of her own experiences. Two prizes for the works-in-progress showcase were introduced this year. The Digital District Workin-Progress Award went to Elite Zexer’s Sand Storm about a Bedouin mother and daughter testing the limits of their conservative community. Udi Aloni’s biopic about Palestinian rapper Tamer Nafar won the Jerusalem Film and Television Fund Award for a work-in-progress.
TODAY
Remembering Lia van Leer, p3
TRIBUTE The godmother Friends and industry pay their respects to Lia van Leer » Page 3
SPOTLIGHT Thru You Princess Exploring the origins of this year’s festival buzz title » Page 6
Final print daily This is Screen’s last print daily of Jerusalem 2015. For the rest of our festival news, check out ScreenDaily.com
John Heyman
Heyman reflects on a life in film BY MATT MUELLER
Director Yossi Atia accepts the Wouter Barendrecht — Lia Van Leer award at the 10th edition of Pitch Point for his project Born In Jerusalem And Still Alive
Maftsir continues former USSR Holocaust tour BY MELANIE GOODFELLOW
Documentary-maker Boris Maftsir flew to Moldova this week to shoot the latest instalment of his ambitious seven-film work, piecing together the untold story of the Holocaust in the countries of the former Soviet Union. He is aiming to film scenes for Til The Last Step, looking at the small rebellions in ghettos in Moldova and neighbouring Belarus.
“The uniqueness of this project is that he doesn’t use any archival footage but rather tries to film in every place on the same day a massacre happened,” explained documentary sales agent Ruth Diskin who is handling the work. “There are very few witnesses left but he has managed to find a few, who he takes back to the sites.” Til The Last Step will be a continuation of the first work in the
series, The Guardians Of Remembrance, which focused on the Holocaust in Belarus. In between filming, Maftsir has also been busy editing the second and third instalments: Holocaust — The Eastern Front, uncovering the fate of Jews in Russia during the Second World War, and Beyond The Nistru River, about an area in southwest Ukraine where more than 130,000 Jewish deportees met their deaths.
Veteran UK producer John Heyman was the recipient of the festiv a l’s A c h i e v e m e n t Aw a rd , presented to him during the Pitch Point reception at the Tower of David in Jerusalem’s Old City. “Thank you to the festival for even noticing my existence,” said a gracious Heyman, whose family fled to the UK from Germany in the 1930s. Earlier in the day, Heyman sat down with Screen reviewer Dan Fainaru to reflect on a career that saw him head up the most powerful agency in the world outside of the US before he moved into producing. Among his credits are Joseph Losey’s The Go-Between. Heyman regaled the audience with anecdotes, some involving his son David, who shepherded the Harry Potter franchise. “When David first bought the rights, he really felt it was going to be a nice little English picture,” he said. He also expressed pointed opinions about the current state of the film industry. “One should question the morality of spending $250m to make a film,” Heyman said. “The producer has increasingly become the protector of the budget. That is often a conflict of interest, and not what a producer should be.”
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LIA VAN LEER TRIBUTE
Jerusalem commemorates Lia van Leer Old friends and industry pay tribute to the ‘godmother of the festival mafia’ BY MELANIE GOODFELLOW
Jerusalem Film Festival commemorated its late founder Lia van Leer on Monday night with a series of affectionate personal tributes. Part of the international film festival circuit right up until the end, van Leer passed away in Jerusalem at the age of 90 in March after falling ill in February during the Berlinale, one of her favourite events on the calendar. Archive footage revealed how van Leer had fallen in love with cinema after watching Marcel Carné’s 1945 classic Les Enfants Du Paradis. Israeli filmmaker Amos Gitai, Berlinale festival director Dieter Kosslick, European Film Market (EFM) president Beki Probst, personal assistant Miriam Zagiel and long-time friend Vivian Ostrovsky were among those who took to the stage to recall van Leer. Kosslick said van Leer’s relationship with the Berlinale was longer than his own, some 15 years after taking the helm of the festival. Lia and husband Wim van Leer won the now defunct Golden Bear for best documentary in 1961 as producers of Chris Marker’s Description d’Un Combat. “I was 13 years old and Lia had already won a Bear,” said Kosslick. “Lia did nearly every job at the Berlinale. She was the head of the jury, she was godmother with Wim Wenders at the second Talent Campus.” The Berlinale director said they embarked on a “rock ’n roll love affair” in 2001 when they met in Rotterdam through the late Dutch sales agent Wouter Barendrecht, after she approached him excitedly to discuss a book he had written about bagels. ‘She stood like a lion’ Amos Gitai recounted how he first met van Leer as a teenager when she was still living in Haifa. “I was making little super-8 films when she came to my parents’ house,” he recalled. “I showed her what I was doing and she invited me to her film club and I ended up being her co-projectionist.” He praised van Leer for never bowing down to pressure in the face of political or religious pressure, citing her determination to introduce screenings on Saturday,
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Remembering Lia van Leer (from left) Vivian Ostrovsky, Amos Gitai, Dieter Kosslick and Beki Probst
Lia van Leer
or Shabbat, in the late 1980s, in the face of fierce opposition from conservative religious groups, as one example of this. “She also showed my very first films here in Jerusalem, very political films about the Lebanon war, Field Diary and House,” he added. “I remember it was January 1983. I was sure no-one would come. It was freezing. It was packed. Some people didn’t like the film. She stood like a lion on the stage and she defended the necessity of the Cinematheque to show works. For her, critical works were an homage to the country.” Zagiel, her friend and assistant for more than 30 years, recalled how van Leer’s favourite seat in the Cinema-
Row 8, seat 11, reserved for the festival and Cinematheque founder
theque’s main theatre had been row 8, seat 11. “She never reserved a ticket in advance because she could never decide until the last minute which movie she would attend. When she finally made up her mind, she would come into the hall and start shuffling people around, so she
could somehow get her favourite seat,” said Zagiel. In remembrance of this quirk, Zagiel presented the festival’s chief Noa Regev, with a plaque for the seat in question. And in another personal touch, the commemoration ended with the distribution of the hand-made lavender bags van Leer used to create from the flowers in her garden and hand out to s guests. ■ Festival head Noa Regev with van Leer’s trademark bags of lavender
July 16-19, 2015 Screen International at Jerusalem 3
Interview Nitzan Gilady
Family Time
Wedding Doll
Bride and prejudice Having made the difficult move from documentary to fiction, director Nitzan Gilady tells Stuart Kemp how his days performing street theatre in a homemade wedding dress inspired competition title Wedding Doll
D
espite his growing reputation as a documentary film-maker of note whose output has graced screens from his native Israel to Europe, the US and beyond, Nitzan Gilady woke up depressed on his 40th birthday in 2010. “I had reached that age and hadn’t done one of the things I dreamed of doing for so long,” Gilady says. “I always wanted to make a feature film.” The result is Wedding Doll, his first featurelength fiction film, which makes its debut here in the Israeli cinema feature competition section. “It’s really hard, especially in Israel, to make the move as someone known as a documentary maker into fiction filmmaking,” Gilady says. “For some people, it’s hard to accept because they know you as a documentary film-maker.” For Gilady, who is of Yemeni heritage, there isn’t a marked difference between fact and fiction film-making. “All my documentaries were shot as a drama, told by scenes; I hardly used interviews,” he explains. “They were built as dramas with scenes following scenes. It’s the same for Wedding Doll.”
4 Screen International at Jerusalem July 16-19, 2015
‘It’s really hard, especially in Israel, to make the move as a documentary maker into fiction film-making’ Nitzan Gilady
On his return to Israel in 1997 following six years in the US, where he studied at the Circle In The Square theatre school in New York — he originally wanted to be an actor — Gilady’s first work came in street theatre. He teamed up with three actresses to stomp around Tel Aviv in outrageous homemade wedding dresses shouting about Israel’s obsession with marriage and the pressure put on young women to find a husband. One of the women’s dresses featured toilet rolls, an image that would sit at the back of Gilady’s mind for nearly 10 years before eventually providing inspiration for what would become Wedding Doll. The film details the story of Hagit, played by emerging Israeli actress Moran Rosenblatt, a talented and resourceful young woman who has a mild mental deficiency, her relationship with her overprotective mother (Assi Levy) and Hagit’s dreams of being married to the son of the owner of the toilet paper factory in which she works. Gilady wrote, directed and produced the film, which was made on location in Mitzpe Ramon, the town in southern Israel’s Negev
desert where he spent his own year of military service. “I put it there because it makes the conflict even more extreme,” he says. “A girl with a [psychological] disability so far from anywhere makes everything even harder.” When he cast Rosenblatt, who he describes as “a beautiful actress”, as Hagit, Gilady was shocked and angered when some expressed concern over the choice. “People said to me, ‘We don’t see disabled people who are beautiful,’” he says. “It was outrageous. I was so angry. The attitude to disabled people is so crooked and wrong, I wanted to do something about that.” Shot in Hebrew and English, Wedding Doll was made for $265,000 (ils1m) with the support of the Makor Foundation for Israeli Films, the Second Authority For Television & Radio, Israel Film Fund and Gesher Multicultural Film Fund. Acceptance speech Having achieved his long-held ambition, Gilady is thrilled to have been invited to Jerusalem Film Festival with Wedding Doll. This follows his attendance with documentaries including In Satmar Custody and Family Time (Zeman Mishpacha). The latter saw the openly gay director’s family travel in a small motor home across the US to the Grand Canyon in 2012. In the van are his conservative father, a brother who suffers from post-traumatic stress disorder after serving in the Lebanon war and Gilady’s divorced middle brother (“My parents gave up on him after the divorce”), with further friction caused as his parents struggle to come to terms with the film-maker’s homosexuality. Other credits include Jerusalem Is Proud To Present, about the political and religious turmoil when the city was chosen to host World Pride events in 2006, while In Satmar Custody is about a Jewish Yemenite family brought from Yemen to upstate New York by the ultraorthodox Satmar community, which opposes immigration to Israel. “When you make documentaries, the story is out there and you film that,” he says. “But when you make a fiction film it’s something you have invented so it puts more weight on how you feel about peos ple accepting it.” n
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SPOTLIGHT THRU YOU PRINCESS
VOYAGE OF DISCOVERY
Director Ido Haar and aspiring US singer/avid YouTuber Princess Shaw tell Matt Mueller about how Thru You Princess found its voice Thru You Princess
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ith two screenings at Jerusalem Film Festival in front of rapt audiences, Thru You Princess has been one of this year’s buzz Israeli titles. The film follows Kutiman, the Israeli music producer hailed as a “musical mash-up genius” for the ‘Thru You’ YouTube musical compilations he stitches together from dozens of home clips by amateur musicians and singers, and, separately, his latest anonymous subject Princess Shaw, who was being followed around New Orleans by Israeli documentary maker Ido Haar. The origins of Thru You Princess came when Kutiman showed Haar some early work from his latest project, which featured Princess Shaw. As the two men conferred, an idea for a documentary focusing on anonymous musicians using YouTube to express themselves emerged, although the scale of the project was originally much broader. “There were six female singers from around the world that Kutiman was sampling, and the idea was to find out about these women and tell their stories,” says Haar. But on a separate trip to the US, Haar decided to go film Princess Shaw — and was instantly taken with her story. “We met in my hotel with her friend because they were afraid, like, ‘Who is this guy coming from Israel?’,” he laughs. “But from the first moment we met, I felt there was something there.” Drawn to Shaw’s straightto-camera soul-baring on YouTube, which revealed a hard-luck
6 Screen International at Jerusalem July 16-19, 2015
‘Princess Shaw was so open and true to herself. I was a little jealous’ Ido Haar
life and years of sexual abuse at the hands of her mother’s boyfriend, he was struck by “how open and true to herself she was. I was a little jealous. Everybody’s so in control and there’s something so free about Princess. It caught me.” Haar carried on meeting other potential subjects for the film “but there was something about Princess… I kept wanting to go to New Orleans.” As far as Shaw was concerned, she was simply taking part in a documentary about avid YouTubers. She had no idea that while Haar was following her around New Orleans and Atlanta, on the other side of the world Kutiman was making her a-cappella singing and original song ‘Give It Up’ the centrepiece of his latest music-video project. Waiting… and waiting When Kutiman decided he was ready to release the song, Haar knew for its unveiling he needed to be in Atlanta, where Shaw had moved to check out the local music scene. Manufacturing the moment took some effort. Meeting with Princess over breakfast at a diner, Haar kept waiting for her to receive a Google alert about the song. And waiting. And waiting. “She wanted to go,” he says, laughing. “I said, ‘No, let’s get another coffee.’ Then, ‘Let’s go to the park.’ By 2pm, she was exhausted.” Finally the moment happened. “I didn’t know what to expect,” says Haar. “And then the scene after with the cousins where they talk about what she’d been through and the con(Left) Princess Shaw and Kutiman attend JFF
nection to this video — I felt like the god of documentary was smiling.” Until Shaw came to Israel for the first time in January, to perform with Kutiman at Israel’s National Theatre, she didn’t even realise she was the main character in Haar’s film. “It was surreal,” admits Shaw. “I’ve never been what you call lucky. I’ve always walked five steps ahead and then got knocked back 50 steps. It was a beautiful gesture that someone had done that with one of my songs. And meeting Kutiman was an emotional rollercoaster.” Exploring the way YouTube gives voice to anyone, no matter how few people might be listening (and in Shaw’s case there weren’t many paying attention to her YouTube channel pre-Kutiman), revealing the darkest secrets of her life on a nakedly public platform has been therapy. “When I see other people on there going through trials and tribulations, I think, ‘OK, I’m not alone,’” says Shaw, sitting beside Haar in the Cinematheque. “I want people to see where I’ve come from. Before I met Ido, Kutiman, the others, I was in this really dark place and what’s happened has been beyond my dreams. You can’t understand how this feels for me, to — excuse me — come from shit to sugar.” Watching the film, you can’t help but hope it unleashes an outpouring of musical interest in Shaw. But Haar only finished the film in time for its festival premiere and now needs to take a deep breath before exploring the distribution and festival options. He also reveals Thru You Princess may not have reached the end of the road, creatively. “Of course I hope that more things will happen s and I will be there with my camera.” ■
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JeruZalem: “If the Paz brothers have even a modest success with JeruZalem, it will be easier for everyone further along the line”
F
ive years ago, the Israeli horror genre didn’t exist. Since the release of Aharon Keshales and Navot Papushado’s Rabies in 2010 and their follow-up Big Bad Wolves in 2013, as well as Eitan Gafny’s Cannon Fodder in the same year, all of which toured festivals around the world, murmurs have begun to circulate about a new player in the genre market. This year at Jerusalem Film Festival it seems the genre may be about to announce itself as a contender on the world stage, after a work-in-progress screening of Israeli apocalyptic horror JeruZalem, from fraternal directing duo Yoav and Doron Paz. Keshales recalls the beginnings of the genre. “Up until we came along, people had said you couldn’t do a horror film in Israel,” he says. “Nobody was ever going to make them because of money and also, because of the political situation, nobody in Israel wanted to see bloodshed on the screen.” “The birth was kind of difficult but now we’re on the verge of a movement,” says Gafny, who presented his second horror feature Children Of The Fall as a work-in-progress at this year’s Pitch Point event, in a bid to secure funding to complete the film ahead of a release next year. When Gafny’s debut film Cannon Fodder emerged alongside Big Bad Wolves in 2013, the pair were sometimes shown at festivals in tandem; for the first time, the existence of Israeli horror was acknowledged. “People were saying there’s a Rabies new movement
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Scare tactics
Is the Israeli horror film about to explode? Tom Grater discusses its origins, growth and prospects with the local genre scene’s key players now in Israel,” he says. “At FrightFest in London, they called it ‘Hebrew horror’.” Gafny believes the release of those two films was the moment when the genre began to be taken seriously. “As we say in Israel, ‘We bring receipts,’” he smiles. “We now have proof around the world that Israeli horror works and people want to see these films.” “Genre films did not exist in Israel five years ago,” observes Israeli film critic Yair Raveh, a leading voice in genre films in Israel. “Rabies was the breakthrough in 2010. That’s when the genre was born.” JeruZalem, with its technical prowess and impressive production values, looks set to raise the bar once again in terms of the perception of Israeli genre films overseas. “We are now in the middle of a revolution,” claims Doron Paz. One of the debates raging among Israeli
‘The birth was kind of difficult but now we’re on the verge of a movement’ Eitan Gafny
genre film-makers is whether or not to shoot their films in the English language. While Keshales’ Rabies and Big Bad Wolves were both largely in Hebrew, JeruZalem’s main characters (played by an Israeli cast) are Americans arriving in Israel on holiday and events unfold, for the most part, in English; the film screened with Hebrew subtitles at Jerusalem Film Festival. Gafny’s first feature Cannon Fodder was also in the Hebrew language, though it featured one character who spoke entirely in English, which the director cites as his deliberate attempt to give the film a broader appeal to international audiences and assist international sales. But should film-makers potentially compromise the Israeli identity of their films to cater to international sales companies and maximise their potential to be seen globally? The Paz brothers believe shooting their film in English will give JeruZalem a much wider international reach. “You have to remember that Israel is not like a lot of countries,” says Gafny, who has shot most of Children Of The Fall in English. “When we see movies in the cinema it’s never dubbed, it’s always in English with subtitles.
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GENRE FILMS SPOTLIGHT
Children Of The Fall
The releases of JeruZalem and Children Of The Fall will prove interesting indicators of how prepared international audiences are to embrace Israeli genre films that unfold primarily in English, and how favourably they will compare with international genre competitors. Their success or failure could influence future productions.
We can relate to writing and speaking in English because we all do it and Hebrew is kind of a difficult language. If you shoot a film in Spanish, there’s no problem showing it in a lot of countries around the world because they know the language.” Keshales disagrees. “I think every movie in Israel should be in the spoken language of the country,” he asserts. “I see Korean cinema and it doesn’t try to copycat American horror, it does its own stuff, in Korean, and everybody likes it for being so different.” “Everybody can make a slasher film,” he adds. “If I had made Rabies in English, it is like Scream or A Nightmare On Elm Street; we’ve seen those movies. But if you hear it in another language, it gives it another spice, you get something different and unique.” Raveh believes that shooting in Hebrew could ultimately bring considerable financial advantage. “I understand it, [being in English] sells easier. But then you have to compete with films that are way more expensive than your film, you have to fight them on equal terms,” he says. “If you promote the Israeli factor, that you are smaller in scale and from a country that doesn’t really have a horror cinema, then there’s a novelty. When you see horror films from Israel, you want to see Israel in them.”
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‘Our wives wanted to kill us! We didn’t get the film funds because they don’t know how to take genre films here yet’ Doron Paz, above left at JFF with brother Yoav
Big Bad Wolves
Cultural censorship While Israeli horror films have already shown their potential for international financial success and recognition — Big Bad Wolves won best film at Fantasia in 2013 — questions remain around their ability to perform domestically, particularly at the box office. “It’s something that’s known,” says Raveh about the lack of local success for Israeli genre films. “Rabies and Big Bad Wolves made their money back in Israel but they were not huge. Their real success came from distributing all over the world.” Raveh speculates that an audience for horror films in Israel could exist, but they aren’t being catered for by distributors. “The distributors here are the same since the 1970s,” he notes. “They’re very adult and I think they object to horror on a personal level. They see it as too violent, not moral enough. You could call it cultural censorship. It’s not state censorship. The distributors prefer to invest money in films they feel more comfortable with.” But while Israel’s distribution landscape hasn’t altered much in recent decades, the filmmakers themselves are beginning to instigate change. Traditionally, international horror films weren’t distributed in Israeli cinemas, meaning that young
Israeli film-makers were rarely exposed to the genre. This began to change in the 1990s with the home-entertainment boom. “From the 1990s, film-makers began to grow up not on movie houses but on video stores,” says Raveh. “They could see all the films that local distributors did not show the general public. “There are no new distributors but there are new film-makers,” he continues. “The people in the film funds are aware there is a cultural shift within the film-making community.” For the Paz brothers, the lack of film-fund support meant putting their own money into JeruZalem, which started as a completely independent production, before they managed to secure US backing. “Our wives wanted to kill us!” Yoav Paz recalls. “We didn’t get the film funds because they don’t know how to take genre films here yet. If you have a drama about soldiers, Palestinians, the Holocaust, then it’s easier.” The consensus among Israeli film-makers is that things may be about to change. “We are halfway towards real acceptance,” say Doron Paz. When JeruZalem entered the postproduction stage, the Jerusalem Film & Television Fund stepped up with some money. Keshales believes that receiving funds from Israeli sources is entirely dependent on film-makers proving their ability to create good genre films, and for the horror genre to prove it can make money. He forecasts that JeruZalem could be a key moment. “If the Paz brothers have even a modest success with JeruZalem, it will be easier for everyone further along the line,” he says. Gafny also believes change is imminent. “The funds don’t really have a choice any more,” he argues. “It’s not just a phase, it keeps getting bigger and bigger. People love genre films and there are a lot of people in Israel who want to make genre films. And s why the hell not?” ■
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Reviews Reviews edited by Fionnuala Halligan finn.halligan@screendaily.com
A Nazi Legacy — What Our Fathers Did Reviewed by Fionnuala Halligan
Mountains May Depart Reviewed by Dan Fainaru Dealing with the changing face of China — past, present and future — Jia Zhangke’s Mountains May Depart is divided into three episodes that map the transition from budding capitalism to economic explosion. Using his characters as pawns on the chessboard of history, Jia’s film culminates in a nostalgic future where the Chinese look back for the identity they have lost. The first section introduces a classic version of the romantic triangle set in the director’s home town of Fenyang in Shanxi province. Young, ebullient Tao (Zhao Tao) has to choose between the arrogant, business-oriented Jiusheng (Zhang Yi) and the hard-working miner Liangzi (Liang Jin Dong). Her choice is China’s choice: she goes with the money and Liangzi leaves town. In the film’s second episode, Liangzi has developed lung cancer after working in the mines and moves back home with his wife and child. He finds Tao is already divorced and her son, named Dollar as per his father’s request, has moved with her ex-husband to Shanghai. The entire third episode takes place in a future Australia, where the older immigrant Chinese generation is alienated despite its accumulated wealth and the younger generation is adrift, searching for an identity. Jia’s plot itself can look like a series of arbitrary choices whose only purpose is to convey the director’s allegorical intentions. The romance of the first episode resembles a mathematical equation. One of the lead characters disappears abruptly, and Tao’s separation from Dollar for 11 years also seems somewhat random. The classic 1.33:1 Academy frame used for the 1999 episode could have been determined by Jia’s decision to use old digital footage he shot at the time with his cinematographer, Yu Lik Wai. The film then moves to a 1.85:1 frame for the second episode and to full-size cinemascope for the third. In the same spirit, the sets, costumes, transportation and even the music fit the period, though the Australian episode seems to suggest nothing much in our lives will change over the next decade, bar tablets and mobile phones.
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Masters Chi-Jap. 2015. 131mins Director/screenplay Jia Zhangke Production companies Shanghai Film Group Corporation, Xstream Pictures, MK Productions, Runjin Investment, Office Kitano International sales MK2, juliette.schrameck@mk2. com Producers Ron Zhonglun, Jia Zhangke, Nathanael Karmitz, Liu Shiyu, Shozo Ichiyama Cinematography Yu Lik Wai Editing Matthieu Laclau Production design Liu Qiang Music Yoshihiro Hanno Cast Zhao Tao, Zhang Yi, Liang Jin Dong, Dong Zijian, Sylvia Chang, Han Sanming
A bracingly rigorous examination of inherited guilt and pain, A Nazi Legacy — What Our Fathers Did is an extraordinary documentary written by human-rights barrister Philippe Sands. In the course of his legal work surrounding the Nuremberg Trials, Sands came into contact with two elderly men, both the sons of highranking Nazis. In this film, directed by David Evans, Sands travels with them to Ukraine where it becomes clear their fathers were responsible for the annihilation of Sands’ Jewish grandfather’s entire family. Sands is preoccupied with the question: what is it like to have grown up as the son of a mass murderer. Niklas Frank, the son of the ‘Butcher of Poland’ Hans Frank, knows the answer. His father, executed at Nuremberg, was Hitler’s lawyer, responsible for the ghettos and concentration camps in Poland. Niklas loathes him. He remembers travelling in a Mercedes to the Krakow ghetto where his mother got out to shop for bargain furs from desperate Jewish women. Horst von Wächter, born, like Niklas, in Nazi splendour in 1939, is the son of Otto von Wächter, who worked for Frank governing Galicia from Lemberg in Ukraine (now the city of Lviv), where 150,000 Jews were ‘resettled’ in the space of two months in 1942. But unlike Niklas, Horst is tentative and damaged. He identifies with the Jewish faith, living in a crumbling castle in Austria without any real memory of his father. Yet, still, he cannot bring himself to condemn Otto, who was indicted for mass murder but escaped to the Vatican, where he was sheltered by an Austrian cardinal and died in 1949. “He will become a Nazi in the end,” says Niklas of his old friend. “The Austrians will like that.” Both men share personal documents and homemovie footage while Sands looks on, his legal mind ticking over the guilt and responsibility, if any, they bear. Sands remains dispassionate throughout, but his task becomes more difficult as the distance between them closes. Their direct link to today’s Ukraine is shocking on every level.
Jewish Experience UK. 2015. 90mins Director David Evans Production company Wildgaze Films International sales The Film Sales Company, contact@filmsalescorp. com Producers Finola Dwyer, Amanda Posey Executive producers Philippe Sands, Nick Fraser, David Evans Screenplay Philippe Sands Cinematography Sam Hardy, Philippe Blaubach, Matt Gray Editor David Charap Music Malcolm Lindsay
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Screenings, page 12
Eden
Panorama
Reviewed by Tim Grierson
Magical Girl Reviewed by Fionnuala Halligan The confident and impressively talented young Spanish director Carlos Vermut’s inky-black Magical Girl is a jarring, compelling, if low-key work of cinema. There’s a lot swimming around the dark depths, and the film delights in constantly shuffling crabwise out of easy reach. In it, Vermut presents a riveting mix of off-key humour, formal bleakness and tired, twisted souls who walk in the footsteps of Saura and Buñuel. It’s a modern noir involving blackmail, masochism and murder, set against the backdrop of recessionary Spain. Magical Girl, which refers to Japanese anime but also the shadowy woman at the centre of the story, is Vermut’s second film, although his first, the cult Diamond Flash (2011) was not released theatrically. Magical Girl is ambitious, clocking in at 127 minutes, and it is not without its flaws, particularly in the final act. Spanish acting veteran Jose Sacristan is the first of three main characters to make an appearance, but he is the last to tell his story. Following his intriguing prologue, Luis (Luis Bermejo) and his 11-year-old daughter Alicia (Pollan) take to the stage. Alicia, who likes to call herself Yukiko, is dying of leukaemia and obsessed by the anime world of the magical girl. Next is Barbara (Barbara Lennie), a severe, damaged beauty who lives a life of spoiled luxury under the care of her controlling husband Alfredo (Israel Elejalde). She will accidently come into contact with Luis, who swims into waters where the big sharks prey. Surefooted for the most part, Vermut’s story stumbles as the last act (featuring Sacristan’s Damian) plays out, stuck in the doldrums of real time before moving up a beat to an explosive pay-off. Throughout, Vermut’s musical choices are strategic, with Manolo Caracol’s gypsy lament ‘Nina De Fuego’ (Burning Girl) making a repeat appearance, alongside Satie’s haunting ‘Gnossiennes’. Sound effects are sparse, but in the case of a growing chorus of cicadas, suddenly terrifying. Magical Girl is an exciting project, in which Lennie’s intense, unhappy performance strikes a keynote.
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Panorama Sp-Fr. 2014. 127mins Director/screenplay Carlos Vermut Production companies Aqui y Alli Films, Films Distribution International sales Films Distribution, info@ filmsdistribution.com Producer Pedro Hernandez Santos Cinematography Santiago Racaj Editor Emma Tusell Production designer Carlos Vermut Music Daniel De Zayas Main cast Jose Sacristan, Barbara Lennie, Luis Bermejo, Israel Elejalde, Lucia Pollan
Heartbreaking and profound in its beautifully modest way, film-maker Mia Hansen-Love’s Eden tackles one of fiction’s oldest themes — the awkward transition from youthful idealism to resigned adulthood — and finds rich new terrain to explore. The director of Father Of My Children and Goodbye First Love once again chronicles life’s nagging habit of not working out as we hoped, but her latest is slightly more accessible, charting the 20-year odyssey of an aspiring French DJ who comes to learn what most of us discover eventually: the things we love can define and imprison us in ways we couldn’t have imagined. Starting in the early 1990s, Eden is interested in the journey of two young men who are starting up a DJ group in Paris called Cheers, but in reality the film is more invested in Paul (Félix de Givry), the handsome, unsettled member of the duo. Over two decades, Eden checks in on Paul as Cheers finds limited international success and he goes through a series of girlfriends, including a commitment-phobic American (Greta Gerwig) and a loyal local girl (a stellar Pauline Etienne) who may end up being the love of his life — if he’s smart enough to realise it. At first, Eden (which was written by Hansen-Love and her brother Sven, who had been a DJ) risks being merely a very enjoyable, nostalgic look at the French dance scene that spawned a modern electronic disco movement in the form of Daft Punk and others. (In the world of Hansen-Love’s film, Daft Punk are friends with Paul and his cohorts but go on to enjoy a worldwide acclaim that Paul never experiences himself.) But Eden’s deliberate, careful pacing — the movie stretches over two hours — turns out to be one of the film’s great strengths, giving the narrative room to grow and develop as we begin to grasp what Hansen-Love is chasing. All movies about one’s childhood music can’t help but feel a bit precious, but Eden is remarkably pointed in its laceration of nostalgia. For most of us, the music of our youth reconnects us to an earlier, probably romanticised version of our lives. For Paul, the sting is more palpable, a constant reminder of everything he wanted — success, love, fame — and didn’t quite get.
Fr. 2014. 131mins Director Mia HansenLove Production company CG Cinema International sales Kinology, www.kinology.eu Producer Charles Gillibert Screenplay Mia HansenLove, Sven Hansen-Love Cinematography Denis Lenoir Production design Anna Falgueres Editor Marion Monnier Main cast Félix de Givry, Pauline Etienne, Vincent Macaigne, Greta Gerwig, Golshifteh Farahani, Laura Smet, Vincent Lacoste
July 16-19, 2015 Screen International at Jerusalem 11
Screenings » Screening times and venues are correct at the time of going to press
In a small Turkish village, 11-year-old Aslan decides to adopt a mortally wounded dog after it loses a vicious dogfight. This impressive and uncompromisingly realistic film won the special jury prize at Venice Film Festival.
Thursday July 16 09:30 Song of My Mother
(France/Germany/ Turkey) Pascale Ramonda. 103mins. Dir: Erol Mintas. Key cast: Feyyaz Duman, Zübeyde Ronahi, Nesrin Cavadzade, Aziz Capkurt, Cüneyt Yalaz. When gentrification drives Ali and his mother out of their Kurdish neighbourhood in Istanbul, they are forced to move to the city’s outskirts. Winner of the grand prize at Sarajevo Film Festival.
Debuts Cinematheque 3
Thursday 16:00 Out of Nature
Spirit of Freedom Cinematheque 3
Thursday 10:00 The Memory of Justice
(USA/France/UK/West Germany) The Film Foundation. Dir: Marcel Ophuls. Marcel Ophuls looks at the relations between personal and collective responsibility in this 1976 film examining the atrocities committed by the Nazis in light of the war crimes committed by France in Algiers and the US in Vietnam. A newly restored print.
Thursday July 16 12:45 In the Shadow of Women
(France) Wild Bunch. 73mins. Dir: Philippe Garrel. Key cast: Clotilde Courau, Stanislas Merhar, Lena Paugam. Philippe Garrel proves
Kahlil Gibran’s The Prophet
Bunch. 84mins. Dir: Roger Allers, Gaetan Brizzi, Paul Brizzi, Joan Gratz, Mohammed Saeed Harib, Tomm Moore, Nina Paley, Bill Plympton, Joann Sfar, Michal Socha. Key cast: Liam Neeson, Salma Hayek Pinault, John Krasinski, Frank Langella, Alfred Molina, John RhysDavies. Kahlil Gibran’s The Prophet is brought to life in this amazing animated feature, a joint effort between 10 leading animators from across the world who have turned these classic texts into a thrilling cinematic adventure. John Krasinski, Alfred Molina and Salma Hayek are among an allstar cast that contributed their vocal talents.
(USA/France/Canada/ Lebanon/Qatar) Wild
JFF Kids Lev Smadar
JFF Classics Cinematheque 2
Thursday 10:15 Knight of Cups
(USA) Filmnation. 118mins. Dir: Terrence Malick. Key cast: Christian Bale, Cate Blanchett, Natalie Portman. A successful screenwriter (Christian Bale) leads a decadent lifestyle, losing himself in a world of delusions. Terrence Malick’s latest feature offers a contemplation on the role of man in the modern world, and also a personal critique of the Hollywood system. Masters Cinematheque 1
Thursday 11:00
12 Screen International at Jerusalem July 16-19, 2015
that the New Wave is still alive and kicking in this comic drama about a love triangle in Paris, an investigation into the demise of relationships and the mysterious ways of passion. Masters Lev Smadar
Thursday 11:30 Heaven Knows What
(USA) Stray Dogs. 94mins. Dir: Ben Safdie, Joshua Safdie. Key cast: Arielle Holmes, Caleb Landry Jones, Buddy Duress, Necro. Harley loves Ilya. He gives her life purpose and sets her passion ablaze. So when he asks her to prove her love by slitting her wrists, she obliges with only mild hesitation, perhaps because of her other all-consuming love: heroin. Panorama Cinematheque 3
Thursday 12:45 In the Shadow of Women See box, above
Autlook Filmsales. 162mins. Dir: Samir. A 3D documentary studying the extended family of Samir, the Iraq-born director whose relatives left their homeland to settle across the globe: from Abu Dhabi to Sydney, Los Angeles, London, Paris, Zurich and even Moscow. A monumental piece that moves between the personal and the national. JFF Docs Cinematheque 1
Thursday 13:30 Wedding Doll
(Israel) Gilady Nitzan Films. 82mins. Dir: Nitzan Gilady. Key cast: Asi Levi, Moran Rosenblatt, Roy Assaf, Arie Tcherner. A talented young woman with a mild mental deficiency dreams of getting married. She is in love with the son of the owner of the toilet-paper factory where she works. The announcement of the factory’s impending closure shakes her life. Isreali Features Cinematheque 3
Thursday 14:15
Iraqi Odyssey
National Gallery
(Iraq/Germany/ Switzerland/UAE)
(USA/France) Doc & Film. 174mins. Dir:
Frederick Wiseman. Documentary legend Frederick Wiseman takes us behind the scenes of London’s National Gallery, in a journey to the heart of a museum filled with masterpieces of western art. A fascinating mosaic of one of the world’s most significant art venues. Masters Lev Smadar
Thursday 15:15 The Mud Woman
(Argentina/Chile) Media Luna. 92mins. Dir: Sergio Castro San Martin. Key cast: Catalina Saavedra, Paola Lattus, Daniel Antivilo, Maite Neira, Elsa Poblete. Maria decides to return to work in the plantations to save enough money and move to the city. On her arrival, she discovers the foreman is the same man who caused her to leave. A strong critique of the state of migrant workers and the oppression of women. Spirit of Freedom Cinematheque 2
Thursday 15:30 Sivas
(Germany/Turkey) Nazli Kilerci. 97mins. Dir: Kaan Müjdeci. Key cast: Dogan Izci, Muttalip Mujdeci, Okan Avci.
(Norway) NDM. 80mins. Dir: Ole Giaever, Marte Vold. Key cast: Ole Giaever, Marte Magnusdotter Solem, Sivert Giaever Solem, Rebekka Nystadbakk. Thirty-year-old Martin feels stifled by his life and decides to commune with nature. This sharp comic drama was the winner of the Europa Cinemas Label award at the Berlinale. Panorama Cinematheque 1
Thursday 17:15 3½ Minutes, ten bullets
(USA) Dogwoof. 98mins. Dir: Marc Silver. In 2012, at a Florida gas station, a white man fired 10 bullets at a car. Three of the bullets hit a 17-yearold, who died on the spot. The assailant claimed self-defence, prompting an intense investigation. A fascinating Sundance award-winning documentary. Spirit of Freedom Cinematheque 2
Thursday 17:45 Cemetery of Splendour
(Malaysia/Thailand/ France/Germany/UK) Match Factory. 122mins. Dir: Apichatpong Weerasethakul. Key cast: Jenjira Pongpas Widner, Jarinpattra Rueangram. A volunteer arrives at a temporary clinic to take care of a soldier suffering from a mysterious sleeping sickness. There she befriends a young medium who uses her psychic powers to help loved ones communicate with the comatose men. Masters Lev Smadar
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yet humorous work about people, basements, and what people get up to in their basements. Masters Cinematheque 2
Thursday 22:00 Trainwreck See box, below
Thursday 22:15 Jeruzalem
THursday July 16 18:00 My Golden Years
(France) Wild Bunch. 123mins. Dir: Arnaud Desplechin. Key cast: Quentin Dolmaire, Lou Roy-Lecollinet, Mathieu Amalric. Paul returns to Paris after years in Tajikistan
The Lobster
(France/UK/ Netherlands/Ireland/ Greece) Protagonist Pictures. 118mins. Dir: Yorgos Lanthimos. Key cast: Colin Farrell, Rachel Weisz, Léa Seydoux, John C Reilly, Ben Whishaw, Jessica Barden. Greek director Yorgos Lanthimos delivers an English-speaking piece that won the jury prize at Cannes. A man is forced to stay at a special hotel and find a suitable love match, lest he be turned into a lobster. Panorama Cinematheque 1
Thursday 18:00 My Golden Years See box, above
Thursday 19:15 Hotline
(Israel/France) Go2Films. 99mins. Dir: www.screendaily.com
and looks back at three memories from his youth. Arnaud Desplechin returned to Cannes this year with a highly praised piece that captures the spirit of its periods. Masters Cinematheque 3
Silvina Landsmann. The Hotline for Refugees and Migrants is a Tel Aviv-based NGO. In inverse proportion to the small scale of this humanrights organisation, the issues it deals with are universal, and the number of people who go to it in search of help is enormous. Israeli Docs Cinematheque 2
Thursday 20:15 Grandma
(USA) Sony. 80mins. Dir: Paul Weitz. Key cast: Lily Tomlin, Julia Garner, Marcia Gay Harden, Judy Greer. A renowned and sharptongued woman sets out to help her granddaughter raise $600 for an abortion. The search for cash stirs up old secrets. This moving comedy directed by Paul Weitz
features a brilliant performance by Lily Tomlin. Gala Cinematheque 1
The Lesson
(Bulgaria/Greece) Wide. 107mins. Dir: Petar Valchanov, Kristina Grozeva. Key cast: Margita Gosheva, Ivan Burnev, Ivan Savov, Deya Todorova, Stefan Denolyubov. A hardworking teacher finds herself in terrible economic trouble and will go to great lengths to survive. This realistic piece, inspired by the Dardenne brothers, won the newdirector award at San Sebastian Film Festival.
Thursday 21:30 In the Basement
(Austria) Coproduction Office. 81mins. Dir: Ulrich Seidl. After completing his exemplary ‘Paradise’ trilogy, Austrian master Ulrich Seidl returns to documentary filmmaking with a piercing
(Israel) Paz Films. 89mins. Dir: Doron Paz, Yoav Paz. Key cast: Yael Grobglas, Yon Tumarkin, Tom Graziani, Danielle Jadelyn. Two American girls follow a mysterious and handsome young anthropology student to Jerusalem. The party is cut short when the trio are caught in the middle of a biblical apocalypse. Trapped between the ancient walls of the Holy City, the travellers must find a way out. Israeli Features Cinematheque 3
Thursday 22:30 A Girl Walks Home Alone At Night
(USA) Kinology. 100mins. Dir: Ana Lily Amirpour. Key cast:
Sheila Vand, Arash Marandi, Mozhan Marno, Dominic Rains, Milad Eghbali, Rome Shadanloo, Marshall Manesh. A mysterious vampire who stalks a post-apocalyptic Iranian town finds herself in an unusual romance. Ana Lily Amirpour’s first feature, a modern film noir directed and shot with breathtaking skill, became one of this year’s most talked about films. Into the Night Lev Smadar
Thursday 23:15 The Frontier
(USA) Rocking Films. 88mins. Dir: Oren Shai. Key cast: Jocelin Donahue, Kelly Lynch, Jim Beaver, Izabella Miko, AJ Bowen, Jamie Harris, Liam Aiken. A woman, on the run, takes a job at a remote desert motel, but soon discovers she has stumbled into an even more complex and dangerous situation. The film fuses elements of 1970s cinema, classic westerns and American film noirs. Into the Night Cinematheque 2
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Debuts Lev Smadar
Thursday 20:30 Living in Illusions
(Israel) Shula Spiegel Productions. 75mins. Dir: Tzvika Binder. The implausible, magical rise and fall of magicians Chico and Diko. In the 1980s they were stars, with a slot on the Shminiyot Ba’Avir TV show, thousands of performances and a thriving magic business. Israeli Docs Cinematheque 3
Thursday July 16 22:00 Trainwreck
(USA) Globus Max. 122mins. Dir: Judd Apatow. Key cast: Amy Schumer, Bill Hader, Brie Larson, Colin Quinn, Vanessa Bayer, Tilda Swinton. A thirty-something writer, who is sure monogamy is impractical and
who leads an uninhibited life free from commitment, has to deal with relationship anxiety when she meets a different type of man. Comedian Amy Schumer stars in a hilarious comedy by Judd Apatow (Knocked Up). Gala Cinematheque 1
July 16-19, 2015 Screen International at Jerusalem 13
Screenings
Leonard Bernstein in rehearsals ahead of a concert of Mahler’s Resurrection Symphony, documenting the great conductor’s excitement at visiting the Holy Land. Albert Maysles Tribute Cinematheque 2
Friday 14:00 Jerusalem Boxing Club
(Israel) RailRoad Films. 65mins. Dir: Helen Yanovsky. Gershon Luxemburg runs the Jerusalem Boxing Club in a bomb shelter that, over the years, has become home to mostly teenage trainees. Through training sessions and championships, the film reveals the complicated life stories of the teenagers and of Gershon himself. Israeli Docs Cinematheque 3
Friday 15:00
Friday July 17 12:15 May Allah Bless France!
(France) Films Distribution. 96mins. Dir: Abd Al Malik. Key cast: Marc Zinga, Sabrina Ouazani, Larouci Didi, Mickael Nagenraft, Matteo Falkone, Stéphane
Fayette-Mikano. Teenager Malik excels at school, while picking pockets and selling drugs. A starkly beautiful cinematic work combining rap music and a universal message of religious coexistence. Spirit of Freedom Lev Smadar
from the renowned Studio Ghibli tells the story of a young girl sent to the coast to improve her health. There, she meets a mysterious blonde girl and the two form a deep friendship, unravelling each other’s pasts. JFF Kids Cinematheque 1
Friday 10:30 Ned Rifle
Friday July 17 09:15 Under Electric Clouds
(Russia/Ukraine/ Poland) 137mins. Dir: Alexey German Jr. Key cast: Louis Franck, Merab Ninidze, Chulpan Khamatova, Anastasia Melnikova, Ramil Salahutdinov, Piotr Gasowski. Alexey German Jr’s new film takes us to 2017 Russia. The world is on the brink of total war, and things could fall apart completely. Winner of Berlin’s Silver Bear for outstanding artistic contribution to cinematography. Panorama Cinematheque 2
Friday 09:30 Yolanda and the Thief
(USA) Hollywood Classics. 108mins. Dir:
Vincente Minnelli. Key cast: Fred Astaire, Lucille Bremer, Frank Morgan. Classic 1945 movie in which conman Johnny (Fred Astaire) poses as a guardian angel in order to steal an inheritance from Yolanda (Lucille Bremer), an innocent girl raised in a monastery and destined to inherit millions. JFF Classics Cinematheque 3
Friday 10:00 Oscar Nominated Shorts 2015
113mins. International Shorts Cinematheque 4
(USA) Possible Films. 85mins. Dir: Hal Hartley. Key cast: Liam Aiken, Martin Donovan, Aubrey Plaza, Parker Posey, Thomas Jay Ryan, James Urbaniak. In the final chapter of the tragicomic trilogy by master of independent cinema Hal Hartley, Ned sets out to find and kill his father for destroying his mother’s life. His aims, however, are frustrated by the young, troublesome, sexy and hilarious Susan. Masters Lev Smadar
Friday 11:45 600 Miles
When Marnie Was There
(Japan) Wild Bunch. 103mins. Dir: Hiromasa Yonebayashi. Key cast: Sara Takatsuki, Kasumi Arimura, Nanako Matsushima, Susumu Terajima. The latest animated film
14 Screen International at Jerusalem July 16-19, 2015
(USA/Mexico) NDM. 85mins. Dir: Gabriel Ripstein. Key cast: Tim Roth, Kristyan Ferrer, Harrison Thomas, Noé Hernandez, Monica del Carmen, Armando Hernandez. Tim Roth is an ATF
agent tracking a young Mexican gun smuggler from Arizona to Mexico. One fatal mistake puts him and the smuggler in the midst of Mexico’s dangerous and complex underworld. Winner of the best first feature award at Berlin Film Festival. Debuts Cinematheque 3
HAGIGA — The Story of Israeli Cinema
(Israel) Go2Films. 104mins. Dir: Noit Geva. A milestone documentary series that challenges the way we think about the history of Israeli cinema. Combining hundreds of interviews captured over two years with rare archival footage from behind the cameras, the series follows Israeli cinema from the 1960s to the present day, investigating the key figures of Israeli cinema and their films. Israeli Docs Cinematheque 2
Friday 12:15 May Allah Bless France! See box, above
The Tales of Hoffmann
(UK) The Film Foundation. 138mins. Dir: Michael Powell, Emeric Pressburger.
Key cast: Moira Shearer, Robert Helpmann, Leonide Massine, Robert Rounseville, Pamela Brown, Ludmilla Tcherina. A restored print of Powell and Pressburger’s adaptation of Offenbach’s 1881 opera. The film will be screened in memory of Aviva Meirom, who devoted 25 years of her life to the Jerusalem Cinematheque. JFF Classics Cinematheque 1
Friday 12:30 The Silver Jubilee of the Sam Spiegel School
(Israel) Professor Richard Peña, former director of New York Film Festival, was requested by Jerusalem Film Festival to curate a collection of fiction and documentary films on the Israeli-Palestinian conflict produced by the Sam Spiegel School between 1993 and 2014. Israeli Cinema Cinematheque 4
Friday 13:45 A Journey to Jerusalem
(USA) Maysles Films. 40mins. Dir: Albert Maysles, David Maysles, Michael Mindlin Jr. This film takes us to Israel of the days following the Six-Day War. It follows
Cemetery of Splendour
(Malaysia/Thailand/ France/Germany/UK) Match Factory. 122mins. Dir: Apichatpong Weerasethakul. Key cast: Jenjira Pongpas Widner, Jarinpattra Rueangram, Banlop Lomnoi. A volunteer arrives at a temporary clinic to take care of a soldier suffering from a mysterious sleeping sickness. There she befriends a young medium who uses her psychic powers to help loved ones communicate with the comatose men. Masters Cinematheque 2
The President
(France/Germany/UK/ Georgia) BAC Films. 105mins. Dir: Mohsen Makhmalbaf. Key cast: Misha Gomiashvili, Dachi Orvelashvili. When a tyrannical president is overthrown by a sudden uprising, the dictator is turned into a fugitive. He and his grandson escape disguised as commoners and witness all of the suffering and hardships that their regime has inflicted on society. A fascinating allegorical drama by Iranian master Mohsen Makhmalbaf. Masters Cinematheque 1
www.screendaily.com
(USA) Magnolia Pictures. 80mins. Dir: Albert Maysles. In the last film presented by Albert Maysles before his death, the great documentarian follows Iris Apfel, the flamboyant 93-year-old style maven who has enjoyed imperial status in the New York fashion scene for decades.
Joelsas, Camila Mardila, Karine Teles. Val works as a housekeeper for a wealthy family. When her daughter arrives for a visit, the rigid and unspoken equilibrium between master and servant becomes unbalanced. Winner of the special jury prize at Sundance and the audience award for the Berlinale’s Panorama section.
Albert Maysles Tribute Cinematheque 3
Panorama Cinematheque 1
Friday 15:45 Iris
Friday 16:15
Friday 17:30
The Pearl Button
Friday 19:30 Amy
Every Face has a Name
(UK) Lev Films. 128mins. Dir: Asif Kapadia. This documentary offers a close look at the life, success and tragic death, at 27, of Amy Winehouse. Interviews and previously unseen archival footage expose the unique personality of this rare musician, who collapsed under the gaze of her millions of fans and invasive media.
See box, below
Spirit of Freedom Cinematheque 3
Gala Cinematheque 1
Friday 18:15
Friday 20:00
By Sidney Lumet
The Forbidden Room
(USA) Cinephil. 103mins. Dir: Nancy Buirski. A never-before-seen interview with Sidney Lumet lies at the heart of this fascinating documentary on one of the most highly regarded directors in film history, who gave us masterpieces Serpico, Dog Day Afternoon, 12 Angry Men and Network.
(Canada) Mongrel. 128mins. Dir: Guy Maddin. Key cast: Roy Dupuis, Clara Furey, Louis Negin, Celine Bonnier, Karine Vanasse, Caroline Dhavernas, Paul Ahmarani, Mathieu Almaric, Udo Kier, Charlotte Rampling, Geraldine Chaplin. An ode to the long-lost films of the silent era, an erotic and kaleidoscopic symphony that takes us sky-high, down to the depths and around the world, creating a unique, multilayered viewing experience.
(Denmark) Kollektiv Film. 105mins. Dir: Christian Braad Thomsen. Rainer Werner Fassbinder was one of the most influential and fascinating European directors until his premature death at the age of 37. This documentary reveals a newly discovered series of interviews with Fassbinder, and is a personal and emotional portrait of the man and his work.
(Denmark/USA, Argentina/Mexico, Netherlands/Germany, France) NDM. 108mins. Dir: Lisandro Alonso. Key cast: Viggo Mortensen, Viilbjork Malling Agger, Ghita Norby. The story of a Danish general — played by Viggo Mortensen — stationed in Patagonia with his beautiful daughter. When she runs away with a soldier, the general sets out in search of the young couple.
Masters Cinematheque 2
Cinemania Cinematheque 4
Panorama Cinematheque 2
Cinemania Cinematheque 4
Friday 17:15 The Second Mother
(Brazil) Match Factory. 114mins. Dir: Anna Muylaert. Key cast: Regina Casé, Michel
Friday 20:30
(France/Spain/Chile) Pyramide International. 82mins. Dir: Patricio Guzman. Patricio Guzman, one of the great documentary film-makers of his generation, deals with a difficult and painful chapter in Chilean history through one of the key natural resources of his homeland — water. Winner of the best script prize at the last Berlinale.
Fassbinder — to Love Without Demands
Jauja
Friday 22:00 Invasion
(Argentina/Panama) Cinephil. 93mins. Dir: Abner Benaim. The 1989 US invasion of Panama is the point of departure for this documentary, which seeks to examine the way people remember, change and forget their past in order to redefine their identity. Winner of the grand jury award at Miami Film Festival. JFF Docs Cinematheque 4
Land and Shade
(France/Brazil/ Netherlands/Chile/ Colombia) Pyramide International. 97mins. Dir: Cesar Acevedo. Key cast: Haimer Leal, Hilda Ruiz, Edison Raigosa, Marleyda Soto, José Felipe Cardenas. After a 17-year absence, Alfonso returns to the place where the woman who was once his wife still lives, along with his son, daughter-in-law and grandson. Winner of the Caméra d’Or at Cannes Film Festival. Debuts Cinematheque 3
Friday 22:15 My Golden Years
(France) Wild Bunch. 123mins. Dir: Arnaud Desplechin. Key cast: Quentin Dolmaire, Lou Roy-Lecollinet, Mathieu Amalric. Paul returns to Paris after years in Tajikistan and looks back at three memories from his youth. Arnaud Desplechin returned to Cannes this year with a highly praised piece that captures the spirit of its periods. Masters Cinematheque 1
Queen of Earth
Friday July 17 20:30 Every Face has a Name
(Sweden ) Rise and Shine. 76mins. Dir: Magnus Gertten.
www.screendaily.com
On April 28, 1945, ferries carrying concentration camp survivors arrived in Malmo, Sweden. They were filmed by local news agencies.
Seventy years later, they discover their images for the first time. Jewish Experience Cinematheque 4
(USA) Match Factory. 90mins. Dir: Alex Ross Perry. Key cast: Elisabeth Moss, Katherine Waterston, Patrick Fugit, Kentucker Audley. Catherine is dealing with the death of her father
and recent break-up with her boyfriend. She visits her friend at her pastoral summer home. However, overwhelmed by memories, she sinks into delusion. Panorama Cinematheque 2
Saturday July 18 09:45 Iraqi Odyssey
(Iraq/Germany/ Switzerland/UAE) Autlook Filmsales. 162mins. Dir: Samir. A 3D documentary studying the extended family of Iraq-born director Samir, whose relatives left their homeland to settle across the globe: from Abu Dhabi to Sydney, Los Angeles, London, Paris, Zurich and even Moscow. A monumental piece moving between the personal and the national. JFF Docs Cinematheque 1
Saturday 10:00 42nd Street
(USA) Park Circus. 89mins. Dir: Lloyd Bacon. Key cast: Warner Baxter, Bebe Daniels, George Brent, Ruby Keeler, Guy Kibbee, Ginger Rogers. When the star of an ambitious production breaks her ankle moments before opening night, the show’s producers must find an actress to replace her. A unique opportunity to watch a newly restored print of the classic spectacular musical. JFF Classics Cinematheque 2
Paper Planes
(Australia) Arclight Films. 96mins. Dir: Robert Connolly. Key cast: Ed Oxenbould, Sam Worthington. A moving and intelligent family film about an Australian boy with a passion for aviation who sets himself a challenge: to enter the world championship for flying paper planes, held in Tokyo, and compete against children from all over the world. JFF Kids Cinematheque 3
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July 16-19, 2015 Screen International at Jerusalem 15
Screenings
Saturday 10:30 Of Men and War
(France/Switzerland) CAT&Docs. 142mins. Dir: Laurent Becue-Renard. Years after coming home, soldiers still struggle with the trauma from the Iraqi battlefield. Will a unique therapy succeed in putting an end to their torment? A documentary masterpiece that won the first prize at IDFA documentary festival. JFF Docs Cinematheque 4
Saturday 12:00 Ingrid Bergman — In Her Own Words
(Sweden) TrustNordisk. 114mins. Dir: Stig Björkman. Never-before-seen personal materials such as photographs, notes, letters, private footage, diaries and interviews with her children create this personal and daring cinematic portrait of Ingrid Bergman — one of cinema’s most beloved and respected actresses. Cinemania Cinematheque 3
Songs from the Second Floor
(Denmark/Sweden/ Norway) Coproduction Office. 98mins. Dir: Roy Andersson. Key cast: Lars Nordh, Stefan Larsson, Bengt C.W. Carlsson, Torbjörn Fahlström, Sten Andersson.
Saturday July 18 Over the course of one day, a series of bizarre incidents takes place in a Scandinavian town. If the first day seems tough, the next is much worse. Roy Andersson’s first film in his trilogy about human existence won the Jury Award at the 2000 Cannes Film Festival. Andersson Trilogy Cinematheque 2
Saturday July 18 13:00 Court
(India) Memento Films. 116mins. Dir: Chaitanya Tamhane. Key cast: Vira Sathidar, Vivek Gomber, Geetanjali Kulkarni, Pradeep Joshi, Usha Bane, Shirish Pawar. An ageing singer is accused of inciting a sewage worker to commit suicide. This false allegation unfolds in the courtroom and through the lives of the attorney and the judge. This first feature won two awards at Venice. Spirit of Freedom Cinematheque 1
16 Screen International at Jerusalem July 16-19, 2015
Saturday 13:00 Court See box, below
Saturday 13:15 The Diplomat
(USA) Ro*co Films. 104mins. Dir: David Holbrooke. A portrait of Ambassador Richard Holbrooke, a senior American diplomat who played a vital role in
setting US foreign policy for five decades, from the Vietnam War, through the Balkan peace accords, to Afghanistan and Pakistan. JFF Docs Cinematheque 4
Saturday 14:00 You, the Living
(Denmark/France/ Germany/Sweden/ Norway) Coproduction Office. 94mins. Dir:
16:15 I Smile Back
(USA) Visit Films. 85mins. Dir: Adam Salky. Key cast: Sarah Silverman, Josh Charles, Thomas Sadoski, Mia Barron, Terry Kinney, Chris Sarandon. A suburban housewife struggles to keep her Roy Andersson. Key cast: Jessica Lundberg, Elisabet Helander, Björn Englund, Leif Larsson, Ollie Olson. In the second part of his tragicomic trilogy on human existence, Scandinavian master Roy Andersson presents a symphony of 50 vignettes dealing with the meaning of life, a collage that only a great master could turn into a film. Andersson Trilogy Cinematheque 2
Saturday 14:30 Grandma
(USA) Sony. 80mins. Dir: Paul Weitz. Key cast: Lily Tomlin, Julia Garner, Marcia Gay Harden, Judy Greer.
family together as her secret life of drugs, alcohol and infidelity spirals out of control. Sarah Silverman reinvents herself as a dramatic actress in this career-defining, intensely layered, heartbreaking role. Gala Cinematheque 3
A renowned and sharptongued woman sets out to help her granddaughter raise $600 for an abortion. The search for cash stirs up old secrets. This moving comedy directed by Paul Weitz features a brilliant performance by Lily Tomlin. Gala Cinematheque 3
Saturday 15:30 Paul Sharits
(Canada) Francois Miron. 85mins. Dir: Francois Miron. A documentary on the life and work of legendary avant-garde artist Paul Sharits (1943-93), who revolutionised the art world and experimental www.screendaily.com
cinema through his innovative, complex film installations. These continue to provoke and inspire to this day. JFF Docs Cinematheque 4
Virgin Mountain
(Denmark/Iceland) BAC Films. 96mins. Dir: Dagur Kari. Key cast: Gunnar Jonsson, Ilmur Kristjansdottir, Sigurjon Kjartansson, Franziska Una Dagsdottir. Fusi is 43 but he still lives with his mother and has never had a girlfriend. After his family urges him to take dance lessons, he meets a special woman. A moving drama that won three awards at Tribeca for film, actor and screenplay. Panorama Cinematheque 1
Saturday 16:00 The Frontier
(USA) Rocking Films. 88mins. Dir: Oren Shai. Key cast: Jocelin Donahue, Kelly Lynch, Jim Beaver, Izabella Miko, AJ Bowen, Jamie Harris, Liam Aiken. A woman on the run takes a job at a remote desert motel, but soon discovers she has stumbled into an even more complex and dangerous situation. The film fuses elements of 1970s cinema, classic westerns and film noir. Into the Night Cinematheque 2
Saturday 16:15 I Smile Back See box, left
Saturday 17:15 LaLee’s Kin: The Legacy of Cotton
(USA) Maysles Films. 88mins. Dir: Albert Maysles, Deborah Dickson, Susan Froemke. This Oscar-nominated documentary, which also won the cinematography award at Sundance, portrays life in the Mississippi Delta through two main characters: a poor, undereducated mother who loses her job in the cotton industry, and a school inspector who struggles to improve the level of local education. Albert Maysles Tribute Cinematheque 4
www.screendaily.com
Saturday 17:30 Mountains May Depart
(Japan/France/China) MK2. 120mins. Dir: Jia Zhangke. Key cast: Zhao Tao, Zhang Yi, Liang Jin Dong, Dong Zijian, Sylvia Chang, Han Sanming. This film from acclaimed Chinese director Jia Zhangke (A Touch of Sin, Still Life) spans 25 years and two continents, recounting the story of two families whose lives are thrown into a spin by modern China’s economic boom. Masters Cinematheque 1
Saturday 18:00 A Pigeon sat on a Branch Reflecting on Existence
(France/Germany/ Sweden/Norway) Coproduction Office. 100mins. Dir: Roy Andersson. Key cast: Holger Andersson, Nils Westblom, Charlotta Larsson, Viktor Gyllenberg, Lotti Törnros, Jonas Gerholm. The third film in Roy Andersson’s trilogy on human existence is a masterpiece centred on two salesmen who go on a surreal and kaleidoscopic voyage. Winner of the Golden Lion at Venice Film Festival. Andersson Trilogy Cinematheque 3
Saturday 18:15
Germany/Switzerland) m-appeal. 100mins. Dir: Carlos M Quintela. Three generations of men live together in a small apartment in a Cuban city that was supposed to be the crown jewel of the Soviet nuclear programme in the Caribbean. This abundantly humorous surreal drama, which combines black-and-white footage with colour archive material, won the Tiger Award at Rotterdam Film Festival. Debuts Cinematheque 4
Saturday 19:45 The Assassin
(Hong Kong/France/ China/Taiwan) Wild Bunch. 105mins. Dir: Hou Hsiao-Hsien. Key cast: Shu Qi, Cheng Chang, Tsumabuki Satoshi. In ninth-century China, a skilled assassin must choose whether to sacrifice her past lover or abandon her life as a mercenary. The latest film by master film-maker Hou HsiaoHsien is a spectacularly beautiful epic that garnered rave reviews and the best director award at Cannes. Masters Cinematheque 1
Saturday 20:00 Wounded Land
(Israel) ComeBack Films. 80mins. Dir: Erez Tadmor. Key
cast: Tawfeek Barhom, Makram Khoury, Roy Assaf, Dvir Benedek. Police officer Kobi Amar and his region commander Yehuda Neumann have been partners in the Haifa police force for years, but now they face a critical turning point in their relationship and those of their families when one is forced to turn against the other. The tumultuous events that unfold one night place Kobi and Neumann’s moral and professional values at stake, as well as their long, dedicated friendship. Israeli Features Cinematheque 3
Saturday 20:15
Saturday 22:00 Eden
(France) Kinology. 131mins. Dir: Mia Hansen-Love. Key cast: Felix De Givry, Pauline Etienne, Vincent Macaigne, Greta Gerwig, Golshifteh Farahani, Laura Smet. In 1990s Paris, a young man forms an electronic music ensemble and is sucked deep into the euphoria offered by fame, which turns out to be shorter than expected. This is acclaimed director Mia Hansen-Love’s treatment of her brother’s true story, told against the backgdrop of the French house-music scene. Panorama Cinematheque 3
Dreams Rewired See box, below
Saturday 21:30 A Nazi Legacy: What our Fathers did
(UK) The Film Sales Company. 90mins. Dir: David Evans. Niklas Frank and Horst von Wächter are the sons of high-ranking Nazi officials. But while Frank views his father as a criminal, Von Wächter is convinced that his father was a good man. This film presents a psychological exploration of men wrestling with their past. Jewish Experience Cinematheque 4
Magical Girl
(France, Spain) Films Distribution. 127mins. Dir: Carlos Vermut. Key cast: José Sacristan, Barbara Lennie, Luis Bermejo, Israel Elejalde,
Lucia Pollan, Elisabet Gelabert. Luis will do anything to fulfil the last wish of his daughter, who has leukaemia. He crosses paths with an unstable woman and a retired teacher who cannot escape his past. Winner of the best film prize at San Sebastian. Panorama Cinematheque 2
Saturday 22:30 The Diary of a Teenage Girl
(USA) K5 International. 102mins. Dir: Marielle Heller. Key cast: Bel Powley, Alexander Skarsgard, Christopher Meloni, Kristen Wiig. In 1970s San Francisco, an artistic teenage girl finds herself in a passionate love affair with her mother’s partner. This impressive festival awardwinning film combines live action and animation. Gala Cinematheque 1
»
Saturday July 18 20:15 Dreams Rewired
(Austria/Germany/UK) Amour Fou. 85mins. Dir: Manu Luksch, Martin Reinhart, Thomas Tode. Dreams Rewired traces the desires and anxieties of today’s hyper-connected world
back to the days when the telephone, film and television were still new inventions. Rare archival materials and a brilliant text narrated by Tilda Swinton are interwoven into a fascinating cinematic essay. Intersections Cinematheque 2
Songs my Brothers Taught me
(USA) Fortissimo. 94mins. Dir: Chloe Zhao. Key cast: John Reddy, Jashaun St. John, Irene Bedard, Taysha Fuller, Cat Clifford, Travis Lone Hill, Eleonore Hendricks. Chloe Zhao’s beautiful debut presents the story of two siblings who go their separate ways. This fascinating and sensitive portrait of modern life on the Pine Ridge Indian Reservation of South Dakota screened at Sundance and Cannes. Debuts Cinematheque 2
Saturday 19:15 The Project of the Century
(Argentina/Cuba/ July 16-19, 2015 Screen International at Jerusalem 17
Screenings
Jerusalem Cinemateque, 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 7921 711 108 Production editor Mark Mowbray, mark. mowbray@screendaily.com, +44 7710 124 065 Sub editors Jon Lysons, Richard Young
Advertising International sales consultant Gunter Zerbich, gunter. zerbich@screendaily.com, +44 7540 100 254 Commercial director
Sunday July 20 17:00 The Lobster
(France/UK/ Netherlands/Ireland/ Greece) Protagonist Pictures. 118mins. Dir: Yorgos Lanthimos. Key cast: Colin Farrell, Rachel Weisz, Léa Seydoux, John C Reilly, Ben Whishaw,
Jessica Barden. Yorgos Lanthimos delivers an Englishlanguage piece that won the jury prize at Cannes. A man is forced to stay at a hotel and find a love match, lest he be turned into a lobster. Panorama Cinematheque 1
in isolation so they can be cleansed of their sins. They face the arrival of a special church adviser, who brings along the past they thought they had left behind. Winner of Berlin Film Festival’s grand jury prize. Panorama Cinematheque 1
Sunday 15:00 Land and Shade
Sunday July 19 11:00 A Pigeon sat on a Branch Reflecting on Existence
(France/Germany/ Sweden/Norway) Coproduction Office. 100mins. Dir: Roy Andersson. Key cast: Holger Andersson, Nils Westblom, Charlotta Larsson, Viktor Gyllenberg, Lotti Törnros, Jonas Gerholm. The third film in Roy Andersson’s trilogy on human existence is a masterpiece centred on
two salesmen who go on a surreal and kaleidoscopic voyage. Winner of the Golden Lion at the most recent Venice Film Festival. Andersson Trilogy Cinematheque 1
Sunday 13:00 The Club
(Chile) Funny Balloons. 97mins. Dir: Pablo Larrain. Key cast: Alfredo Castro, Roberto Farias, Antonia Zegers, Jaime Vadell, Alejandro Goic, Alejandro Sieveking, Marcelo Alonso, José Soza, Francisco Reyes. Four priests are sent to live
18 Screen International at Jerusalem July 16-19, 2015
(France/Brazil/ Netherlands/Chile/ Colombia) Pyramide International. 97mins. Dir: Cesar Acevedo. Key cast: Haimer Leal, Hilda Ruiz, Edison Raigosa, Marleyda Soto, José Felipe Cardenas. After a 17-year absence, Alfonso returns to the place where the woman who was once his wife still lives, along with his son, daughter-in-law and grandson. A beautiful first feature that won the Camera d’Or at Cannes Film Festival. Debuts Cinematheque 1
Sunday 17:00 The Lobster See box, left
Sunday 19:00 Zelda: A Simple Woman
(Israel) Yair Qedar. 55mins. Dir: Yair Qedar. Using archival footage from the 1970s and unpublished diaries, Zelda: A Simple Woman attempts to draw a portrait of a humble poet and her unique poetic language. Israeli Docs Cinematheque 3
Sunday 19:30 Magical Girl
(France/Spain) Films Distribution. 127mins. Dir: Carlos Vermut. Key cast: José Sacristan, Barbara Lennie, Luis Bermejo, Israel Elejalde, Lucia Pollan, Elisabet Gelabert. Luis will do anything to fulfil the last wish of his daughter, who has leukaemia. He is about to cross paths with an
unstable woman and a retired teacher who cannot escape his past. This complex piece won best film at San Sebastian. Panorama Cinematheque 1
Sunday 20:30 The 48 Hour Film Project — Israel
Nadia Romdhani, nadia. romdhani@screendaily.com, +44 20 8102 0881 Sales manager Scott Benfold, scott.benfold@ screendaily.com, +44 20 8102 0813 Production manager Jonathon Cooke, jonathon.
(Israel) 120mins.
cooke@mb-insight.com,
Israeli Cinema Cinematheque 2
+44 7584 333 148
Sunday 22:00
Chief executive, MBI Conor Dignam
Krisha
(USA) Visit Films. 83mins. Dir: Trey Edward Shults. Key cast: Krisha Fairchild, Robyn Fairchild, Bill Wise, Chris Doubek, Olivia Grace Applegate, Alex Dobrenko, Trey Edward Shults. After years of absence, Krisha is reunited with her relatives on Thanksgiving. This is her opportunity to prove that she has changed. Winner of the SXSW grand jury award.
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Debuts Cinematheque 1
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THE LARGEST SHOWCASE OF ISRAELI FILMS IN THE U.S.
LAEMMLE
FROM
OCT 28
THEATERS
MUSIC HALL 3
THROUGH
BEVERLY HILLS
NOV 19
ROYAL
SANTA MONICA
LOS ANGELES 2015
TOWN CENTER 5 ENCINO
NOHO 7
NORTH HOLLYWOOD
OPENING NIGHT GALA Wednesday, October 28, 2015 • Saban Theatre, Beverly Hills
FESTIVAL HIGHLIGHTS: • Award Presentations • Premieres • Panel Discussions
• Centerpiece • American Film Market Event
For sponsorship opportunities, contact Meir Fenigstein at:
052-245-0303 (Israel) • 213-948-8800 (USA) www.IsraelFilmFestival.com • info@IsraelFilmFestival.org המועצה הישראלית לקולנוע
The Israel Film Council
© 2015 A presentation of the IsraFest Foundation, Inc. Key art designed by eclipse