This year’s Pitch Point includes new projects from Nir Bergman, Yona Rozenkier, Hadar Morag.
Jerusalem Film Festival has confirmed the Industry Days programme for its 40th-anniversary edition, including the 10 projects for its Pitch Point Competition for Israeli co-production features.
The Industry Days will run from July 13-15, and will also include the final pitching event of the Sam Spiegel International Film Lab on July 14.
Scroll down for the full list of Pitch Point projects.
Pitch Point pitches will run on July 13, to a jury presided over by Arte Cinema France’s Olivier Pere, and including Beta Cinema’s Thorsten Ritter,...
Jerusalem Film Festival has confirmed the Industry Days programme for its 40th-anniversary edition, including the 10 projects for its Pitch Point Competition for Israeli co-production features.
The Industry Days will run from July 13-15, and will also include the final pitching event of the Sam Spiegel International Film Lab on July 14.
Scroll down for the full list of Pitch Point projects.
Pitch Point pitches will run on July 13, to a jury presided over by Arte Cinema France’s Olivier Pere, and including Beta Cinema’s Thorsten Ritter,...
- 7/3/2023
- by Ben Dalton
- ScreenDaily
Five Israeli projects won Pitch Point awards at the ceremony.
Zetjune, the upcoming second feature from Luzzu director Alex Camilleri, has won the Sam Spiegel International Film Lab Grand Prize on Saturday (July 23), at a joint ceremony in which Jerusalem Industry Days announced its Pitch Point winners.
Featuring real artists from the Maltese folk scene, musical Zejtune follows a 30-year-old woman whose life is reinvigorated by an encounter with an elderly troubadour.
Scroll down for the full list of winners
The 50,000 award was given to Maltese-us filmmaker Camilleri and his producers Rebecca Anastasi from Malta and Ramin Bahrami from the US.
Zetjune, the upcoming second feature from Luzzu director Alex Camilleri, has won the Sam Spiegel International Film Lab Grand Prize on Saturday (July 23), at a joint ceremony in which Jerusalem Industry Days announced its Pitch Point winners.
Featuring real artists from the Maltese folk scene, musical Zejtune follows a 30-year-old woman whose life is reinvigorated by an encounter with an elderly troubadour.
Scroll down for the full list of winners
The 50,000 award was given to Maltese-us filmmaker Camilleri and his producers Rebecca Anastasi from Malta and Ramin Bahrami from the US.
- 7/25/2022
- by Ben Dalton
- ScreenDaily
M-Appeal has acquired world sales rights to Michal Vinik’s “Valeria Is Getting Married,” which focuses on two Ukrainian sisters, one already living in Israel, having entered a marriage arranged online, and the another considering doing the same.
The film marks the second collaboration between the German sales outfit and the Tel Aviv-based director, following her debut feature film “Barash.” It is the third time M-Appeal has teamed with Israeli production company Lama Films, following their partnership on “Barash” and “Working Woman.”
Maren Kroymann, M-Appeal’s managing director, said: “We are very excited to continue our collaboration with Michal, whose films are entertaining, accessible, and feminist in how they address important subjects. In ‘Valeria,’ she deconstructs widely spread preconceptions and prejudices about Ukrainian women, which have become much more visible now as so many women are fleeing the war.”
Set over the course of one day, the film focuses on...
The film marks the second collaboration between the German sales outfit and the Tel Aviv-based director, following her debut feature film “Barash.” It is the third time M-Appeal has teamed with Israeli production company Lama Films, following their partnership on “Barash” and “Working Woman.”
Maren Kroymann, M-Appeal’s managing director, said: “We are very excited to continue our collaboration with Michal, whose films are entertaining, accessible, and feminist in how they address important subjects. In ‘Valeria,’ she deconstructs widely spread preconceptions and prejudices about Ukrainian women, which have become much more visible now as so many women are fleeing the war.”
Set over the course of one day, the film focuses on...
- 7/12/2022
- by Leo Barraclough
- Variety Film + TV
Michal Aviad on Glenn Close and Michael Douglas in Adrian Lyne's Fatal Attraction and Demi Moore and Douglas in Barry Levinson's Disclosure: "Before writing and while writing and researching I looked for films that deal with sexual harassment." Photo: Anne-Katrin Titze
Michal Aviad's Working Woman, co-written with Sharon Azulay Eyal and Michal Vinik, shot by Daniel Miller, stars Liron Ben-Shlush (Asaf Korman's Next to Her), Menashe Noy (Ronit Elkabetz and Shlomi Elkabetz' Gett: The Trial of Viviane Amsalem), and Oshri Cohen with Irit Sheleg (Rama Burshtein's Fill The Void), and is produced by Amir Harel (Eytan Fox's Walk On Water which starred Lior Ashkenazi) and Ayelet Kait.
Michal Aviad on Liron Ben-Shlush as Orna in Working Woman: "I want to know how does it feel to be inside the female protagonist and try to look at it from her point of view.
Michal Aviad's Working Woman, co-written with Sharon Azulay Eyal and Michal Vinik, shot by Daniel Miller, stars Liron Ben-Shlush (Asaf Korman's Next to Her), Menashe Noy (Ronit Elkabetz and Shlomi Elkabetz' Gett: The Trial of Viviane Amsalem), and Oshri Cohen with Irit Sheleg (Rama Burshtein's Fill The Void), and is produced by Amir Harel (Eytan Fox's Walk On Water which starred Lior Ashkenazi) and Ayelet Kait.
Michal Aviad on Liron Ben-Shlush as Orna in Working Woman: "I want to know how does it feel to be inside the female protagonist and try to look at it from her point of view.
- 4/2/2019
- by Anne-Katrin Titze
- eyeforfilm.co.uk
Yona Rozenkier’s “The Dive” and Tsivia Barkai-Yacov’s “Red Cow” have scooped The Haggiag Award for Best Israeli Feature Film and the Anat Pirchi Award for Best Debut Film at the 35th edition of the Jerusalem Film Festival.
“The Dive” and “Red Cow” shared the award Thursday for best debut film. Produced by Efrat Cohen and Koby Mizrahi ,”The Dive” follows three brothers who reunite for one weekend to bury their father in their native kibbutz on the border with Lebanon before going to war. The movie, which also played at Locarno, is being sold by Stray Dogs.
“Red Cow” is set in an Israeli settlement in East Jerusalem and follows the sexual awakening of a teenage girl living with her widowed father, who is an Orthodox Jew. The movie world premiered at Berlin in the Generation section.
The Israeli competition jury, which comprised Romanian director Calin Peter Netzer,...
“The Dive” and “Red Cow” shared the award Thursday for best debut film. Produced by Efrat Cohen and Koby Mizrahi ,”The Dive” follows three brothers who reunite for one weekend to bury their father in their native kibbutz on the border with Lebanon before going to war. The movie, which also played at Locarno, is being sold by Stray Dogs.
“Red Cow” is set in an Israeli settlement in East Jerusalem and follows the sexual awakening of a teenage girl living with her widowed father, who is an Orthodox Jew. The movie world premiered at Berlin in the Generation section.
The Israeli competition jury, which comprised Romanian director Calin Peter Netzer,...
- 8/3/2018
- by Elsa Keslassy
- Variety Film + TV
Tikkun director among Israeli filmmakers presenting at 13th edition of showcase.
Ahead of the 2018 Jerusalem Film Festival (July 26 – Aug 5), the projects for the annual Pitch Point competition have been unveiled.
Held on July 27 and 28, the initiative, now in its 13th year, is an opportunity for Israeli filmmakers to showcase in-progress projects to attending international film industry, with a view to forging co-production ties.
The 2018 showcase includes new works from Avishai Sivan, Shira Geffen, Keren Yedaya, That Lovely Girl), and Tawfik Abu Wael (Cannes 2004 Fipresci prize winner Atash).
The Pitch Point jury this year is comprised of Kirsten Niehuus (Medienboard Berlin...
Ahead of the 2018 Jerusalem Film Festival (July 26 – Aug 5), the projects for the annual Pitch Point competition have been unveiled.
Held on July 27 and 28, the initiative, now in its 13th year, is an opportunity for Israeli filmmakers to showcase in-progress projects to attending international film industry, with a view to forging co-production ties.
The 2018 showcase includes new works from Avishai Sivan, Shira Geffen, Keren Yedaya, That Lovely Girl), and Tawfik Abu Wael (Cannes 2004 Fipresci prize winner Atash).
The Pitch Point jury this year is comprised of Kirsten Niehuus (Medienboard Berlin...
- 6/29/2018
- by Tom Grater
- ScreenDaily
Festival’s new $20,000 international competition prize goes to Albert Serra for The Death Of Louis Xiv; One Week And A Day wins best Israeli feature.
The 33rd Jerusalem Film Festival, which wraps on Sunday, has awarded its top prizes to The Death Of Louis Xiv by Albert Serra (best international film), One Week And A Day by Asaph Polonsky (best Israeli feature), and Dimona Twist by Michal Aviad (best Israeli documentary).
The international jury was comprised of Cornerstone Films’ Alison Thompson, Icelandic director Grímur Hákonarson, and Israeli director Talya Lavie, who praised Serra “for creating a bold and distinctive chamber piece in a beautifully detailed world. For its stunning set design and cinematography that captures its period brilliantly. For creating an intimate and moving look at the sunset of a great figure in history.”
An honourable mention went to Tobias Lindholm’s A War.
The Death Of Louis Xiv wins the $20,000 cash prize for the festival’s new international...
The 33rd Jerusalem Film Festival, which wraps on Sunday, has awarded its top prizes to The Death Of Louis Xiv by Albert Serra (best international film), One Week And A Day by Asaph Polonsky (best Israeli feature), and Dimona Twist by Michal Aviad (best Israeli documentary).
The international jury was comprised of Cornerstone Films’ Alison Thompson, Icelandic director Grímur Hákonarson, and Israeli director Talya Lavie, who praised Serra “for creating a bold and distinctive chamber piece in a beautifully detailed world. For its stunning set design and cinematography that captures its period brilliantly. For creating an intimate and moving look at the sunset of a great figure in history.”
An honourable mention went to Tobias Lindholm’s A War.
The Death Of Louis Xiv wins the $20,000 cash prize for the festival’s new international...
- 7/15/2016
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Festival’s new $20,000 international competition prize goes to Albert Serra for The Death of Louis Xiv; One Week And a Day wins best Israeli feature.
The 33rd Jerusalem Film Festival, which wraps on Sunday, has awarded its top prizes to The Death of Louis Xiv by Albert Serra (best international film), One Week And A Day by Asaph Polonsky (best Israeli feature), and Dimona Twist by Michal Aviad (best Israeli documentary).
The jury was comprised of Cornerstone Films’ Alison Thompson, Icelandic director Grímur Hákonarson, and Israeli director Talya Lavie, who praised Serra “for creating a bold and distinctive chamber piece in a beautifully detailed world. For its stunning set design and cinematography that captures its period brilliantly. For creating an intimate and moving look at the sunset of a great figure in history.”
An honourable mention went to Tobias Lindholm’s A War.
Louis Xiv wins the $20,000 cash prize for the festival’s new international competition, supported...
The 33rd Jerusalem Film Festival, which wraps on Sunday, has awarded its top prizes to The Death of Louis Xiv by Albert Serra (best international film), One Week And A Day by Asaph Polonsky (best Israeli feature), and Dimona Twist by Michal Aviad (best Israeli documentary).
The jury was comprised of Cornerstone Films’ Alison Thompson, Icelandic director Grímur Hákonarson, and Israeli director Talya Lavie, who praised Serra “for creating a bold and distinctive chamber piece in a beautifully detailed world. For its stunning set design and cinematography that captures its period brilliantly. For creating an intimate and moving look at the sunset of a great figure in history.”
An honourable mention went to Tobias Lindholm’s A War.
Louis Xiv wins the $20,000 cash prize for the festival’s new international competition, supported...
- 7/15/2016
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Israeli film-maker Itamar Alcalay’s Darkroom, revolving around a young gay Armenian man forced into an arranged marriage, has won the top $50,000 prize at the Sam Spiegel International Film Lab’s pitching event.
The Death Of Black Horses by Kurdistan’s Ferit Karahan, a story of family intrigue in a Kurdish village during the First World War, clinched the second prize of $20,000.
The two prizes were donated by the Beracha Foundation.
Darkroom, produced by Amir Harel and Ayelet Kait of Tel Aviv-based Lama Films, is Alcalay’s debut feature, after a number of documentary shorts.
Set in a down-at-heel neighbourhood near the central bus station in Tel Aviv, it revolves around the relationship between hot-blooded Armenian Artium, his lover Amir and a free-spirited girl to whom Artium is married-off by his family.
The Death Of Black Horses is Karahan’s second film after The Fall From Heaven, which premiered at the Antalya Golden Orange Film Festival and won...
The Death Of Black Horses by Kurdistan’s Ferit Karahan, a story of family intrigue in a Kurdish village during the First World War, clinched the second prize of $20,000.
The two prizes were donated by the Beracha Foundation.
Darkroom, produced by Amir Harel and Ayelet Kait of Tel Aviv-based Lama Films, is Alcalay’s debut feature, after a number of documentary shorts.
Set in a down-at-heel neighbourhood near the central bus station in Tel Aviv, it revolves around the relationship between hot-blooded Armenian Artium, his lover Amir and a free-spirited girl to whom Artium is married-off by his family.
The Death Of Black Horses is Karahan’s second film after The Fall From Heaven, which premiered at the Antalya Golden Orange Film Festival and won...
- 7/13/2015
- ScreenDaily
Strand Releasing has acquired all North American rights to Eytan Fox’s “Yossi,” which had its world premiere at the Tribeca Film Festival in April. The specialty distributor, which released Fox’s “Yossi & Jagger” and “The Bubble,” plans a fall festival run followed by a theatrical release early in 2013. Written by Itay Segal, Fox’s follow-up to “Yossi & Jagger” picks up with Yossi as a workaholic Tel Aviv doctor who meets a soldier on the road after he’s forced to take a vacation. Lama Films’ Amir Harel produced along with United King Films’ Moshe Edry and Leon Edry, Fox and Ayelet Kait. Read Iw critic Eric Kohn’s review, and our critics poll of the best of Tribeca, where "Yossi" led all narrative films. “There was big interest for ‘Yossi’ after its Tribeca film fest premiere from many U.S. distributors, and even new players came in to bid for.
- 6/12/2012
- by Jay A. Fernandez
- Indiewire
International Critics Week
CANNES -- Etgar Keret is well-known internationally as a writer of offbeat, fragmentary short stories -- his latest collection, The Nimrod Flipout, has been highly praised in the U.S. and British media -- and his debut directorial feature effort, scripted and co-directed by his partner Shira Geffen, is a similarly mosaic composition. Several stories, or scraps of stories, are woven together in the making of Jellyfish (Meduzot), linked by common themes and a shared sense of humor, poetry and loss.
Though the main characters -- Keren and Michael, a newly married couple; Batya, who works for a caterer specializing in weddings; and Joy, an Indonesian domestic -- do not meet, or do so only fleetingly, the movie builds to a wholly convincing finale that lingers in the mind long after the final credits. The film should enjoy a long life on the festival circuit and ample theatrical opportunities in many territories.
When Keren (Noa Knoller) breaks a leg at the wedding reception, their Caribbean honeymoon is called off and they book into a hotel by the beach. The enforced idleness is already creating strains between them when Michael (Gera Sandler) meets an attractive female poet who offers to exchange rooms with them because theirs is facing away from the sea.
Batya (Sarah Adler), who lives in a crumbling apartment and has trouble paying the bills, finds her life turned upside down by a 5-year-old girl (Nicole Leidman), who appears mysteriously out of the sea and passes into her care. Joy (Ma-nenita De Latorre), a sweet-natured maid who lives only to send money and make long-distance telephone calls to her daughter overseas, finds herself the unwitting instrument of a reconciliation between a sick old woman, Malka (Zharira Charifai), and her daughter Galia, an actress (Ilanit Ben-Yaakov).
The action takes place entirely in Tel Aviv, the city where Keret and Geffen have spent most of their lives, and usually a short distance from the sea that, as Keret notes, has become for many Israelis a refuge, a place of shelter and comfort in that troubled country where people can find themselves.
There are frequent visual and verbal references to the sea and ships, and the movie's view of its characters is made plain in the title: Like jellyfish, they are free-floating, driven here and there by forces beyond their control, bereft of moorings.
This is to make Jellyfish sound more arty or intellectual than it is. There is an abundance of finely observed detail and plenty of humor, mostly of the wry, ironic kind, often with a keen sense of the absurd. When a policeman wants to explain to Batya, who has just presented him with the lost child, that there is an astonishingly large number of missing people out there, he produces a file of individual cases and proceeds to fold them into origami paper boats.
Though the overall effect of the movie is downbeat but haunting, Keret and Geffen end on a note of optimism. The child returns to the sea as mysteriously as she had emerged from it. Batya plunges in after her and appears set to drown but is pulled from the waves by the photographer friend she has met earlier. The clear implication, as the movie concludes with a Hebrew rendition of Edith Piaf's La Vie en Rose, is that her life is beginning anew.
JELLYFISH
Lama Films, Les Films du Poisson
Credits:
Directors: Etgar Keret, Shira Geffen
Writer: Shira Geffen
Producers: Amir Harel, Ayelet Kit, Yael Fogiel
Director of photography: Antoine Heberle
Production design: Avi Fahima
Music: Christopher Bowen
Editing: Sacha Franklin, Francois Gedigier
Cast:
Batya: Sarah Adler
Little girl: Nicole Leidman
Michael: Gera Sandler
Keren: Noa Knoller
Joy: Ma-nenita De Latorre
Malka: Zharira Charifai
Galia: Ilanit Ben-Yaakov
running time 78 minutes
No MPAA rating...
CANNES -- Etgar Keret is well-known internationally as a writer of offbeat, fragmentary short stories -- his latest collection, The Nimrod Flipout, has been highly praised in the U.S. and British media -- and his debut directorial feature effort, scripted and co-directed by his partner Shira Geffen, is a similarly mosaic composition. Several stories, or scraps of stories, are woven together in the making of Jellyfish (Meduzot), linked by common themes and a shared sense of humor, poetry and loss.
Though the main characters -- Keren and Michael, a newly married couple; Batya, who works for a caterer specializing in weddings; and Joy, an Indonesian domestic -- do not meet, or do so only fleetingly, the movie builds to a wholly convincing finale that lingers in the mind long after the final credits. The film should enjoy a long life on the festival circuit and ample theatrical opportunities in many territories.
When Keren (Noa Knoller) breaks a leg at the wedding reception, their Caribbean honeymoon is called off and they book into a hotel by the beach. The enforced idleness is already creating strains between them when Michael (Gera Sandler) meets an attractive female poet who offers to exchange rooms with them because theirs is facing away from the sea.
Batya (Sarah Adler), who lives in a crumbling apartment and has trouble paying the bills, finds her life turned upside down by a 5-year-old girl (Nicole Leidman), who appears mysteriously out of the sea and passes into her care. Joy (Ma-nenita De Latorre), a sweet-natured maid who lives only to send money and make long-distance telephone calls to her daughter overseas, finds herself the unwitting instrument of a reconciliation between a sick old woman, Malka (Zharira Charifai), and her daughter Galia, an actress (Ilanit Ben-Yaakov).
The action takes place entirely in Tel Aviv, the city where Keret and Geffen have spent most of their lives, and usually a short distance from the sea that, as Keret notes, has become for many Israelis a refuge, a place of shelter and comfort in that troubled country where people can find themselves.
There are frequent visual and verbal references to the sea and ships, and the movie's view of its characters is made plain in the title: Like jellyfish, they are free-floating, driven here and there by forces beyond their control, bereft of moorings.
This is to make Jellyfish sound more arty or intellectual than it is. There is an abundance of finely observed detail and plenty of humor, mostly of the wry, ironic kind, often with a keen sense of the absurd. When a policeman wants to explain to Batya, who has just presented him with the lost child, that there is an astonishingly large number of missing people out there, he produces a file of individual cases and proceeds to fold them into origami paper boats.
Though the overall effect of the movie is downbeat but haunting, Keret and Geffen end on a note of optimism. The child returns to the sea as mysteriously as she had emerged from it. Batya plunges in after her and appears set to drown but is pulled from the waves by the photographer friend she has met earlier. The clear implication, as the movie concludes with a Hebrew rendition of Edith Piaf's La Vie en Rose, is that her life is beginning anew.
JELLYFISH
Lama Films, Les Films du Poisson
Credits:
Directors: Etgar Keret, Shira Geffen
Writer: Shira Geffen
Producers: Amir Harel, Ayelet Kit, Yael Fogiel
Director of photography: Antoine Heberle
Production design: Avi Fahima
Music: Christopher Bowen
Editing: Sacha Franklin, Francois Gedigier
Cast:
Batya: Sarah Adler
Little girl: Nicole Leidman
Michael: Gera Sandler
Keren: Noa Knoller
Joy: Ma-nenita De Latorre
Malka: Zharira Charifai
Galia: Ilanit Ben-Yaakov
running time 78 minutes
No MPAA rating...
- 8/16/2007
- The Hollywood Reporter - Movie News
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