Page 1





Editorial +44 7436 096 420

Advertising +44 7540 100 254


» p16-18





JFF transports the good word BY MELANIE GOODFELLOW

Jerusalem Film Festival will spill out of its traditional home of the Cinematheque this edition. Under the JFF Road Trip initiative, a series of cinema-themed installations will take place across the city, including an augmented reality event at Safra railway station transporting participants to the world of the western, and a Cinema Paradiso evening at the Old City’s Muristan Square. The programme is partly financed by the Jerusalem Development Authority (JDA). “The film festival is not just any event going on in Jerusalem. It combines all our efforts in tourism, film and attracting new people to come to Jerusalem,” says JDA deputy general director Udi Ben Dror.

Global interest builds for buzz Israeli titles

Editorial +44 7436 096 420

Advertising +44 7540 100 254

Festival favours fun with opening Godard biopic BY MELANIE GOODFELLOW

The 34th edition of Jerusalem Film Festival (JFF) kicks off tonight with a gala screening of Redoubtable, Oscar-winning French director Michel Hazanavicius’s irreverent tribute to cinema icon Jean-Luc Godard. JFF’s opening nights have been politically charged in recent years but festival director Noa Regev and artistic director Elad Samorzik are keen to keep the spotlight on cinema this year. Rather than the usual speeches, a specially prepared film in which key figures discuss their love of film will play. “We fell in love with Redoubtable immediately and thought it was a

perfect fit for the opening night,” says Samorzik of the film, which premiered in Cannes Competition this May. “It’s a great, funny film. We all need comedy in our lives.” Redoubtable is among a number of Cannes titles screening at JFF including Bruno Dumont’s Jeannette, The Childhood Of Joan Of Arc and Arnaud Desplechin’s Ismael’s Ghost, which play in the Masters section, as well as Fellipe Gamarano Barbosa’s Gabriel And The Mountain, Francois Ozon’s Amant Double and Sofia Coppola’s The Beguiled, which are contenders in the International Competition. JFF ’s artistic director is

delighted to bring back the International Competition for a second year. “It got off to an auspicious start last year with the win for Albert Serra’s The Death Of Louis XIV,” he says. “And filmmakers have been more than keen to see their films play in the line-up.” Other titles competing in the section include Ferenc Torok’s 1945, about the inhabitants of a small Hungarian village forced to face up to their part in the Holocaust. “For me, it is the best film of the year tackling the Jewish experience,” says Samorzik of the film, which premiered at Berlin Film Festival in February.


Louis Garrel and director Michel Hazanavicius larking about at Cannes this year


Israeli feature Scaffolding, which premiered at this year’s Cannes Film Festival and plays here in the Israeli Feature Competition section on Monday (July 17) and Thursday (July 20), continues to do good business for sales agent New Europe Film Sales. The film has sold to Australia (JIFF) and Poland (Aurora), following a key deal for France (Les Acacias). Depicting an impulsive troublemaker who forges a connection with his literature teacher, the film was produced by Tel Aviv-based Green Productions and marks the feature debut of director Matan Yair. It won the top prize at Pitch Point in Jerusalem last year and was backed by the Israel Film Fund. New Europe has also scored new deals on Holy Air, which premiered at the Tribeca Film Festival in April. Writer-director Shady Srour’s film screens at JFF on July 15, 16 and 19. Previously acquired for North America by Samuel Goldwyn, Holy Air has now sold to South Korea (Aias Plus) and Slovenia (RTV).

Hazanavicius, Garrel perk up guest line-up Michel Hazanavicius touched down in Jerusalem yesterday ahead of the festival’s opening-night screening of his Jean-Luc Godard biopic Redoubtable, which takes place tonight at the open-air Sultan’s Pool venue. Lead actor Louis Garrel, who plays Godard in the film, is also attending, accompanied by actress Laetitia Casta, whom he recently

wed. Other filmmaking notables jetting into Jerusalem for the festival this year include US filmmaker Todd Solondz, who is here to launch his new project Quarters alongside his co-directors Mohsen Makhmalbaf, Anna Muylaert and Arsinee Khanjian. Attendees also include Claude Lanzmann, Israeli filmmaker Amos Gitai, Hungarian director

Ferenc Torok and writer-director Philippe Garrel, father of Louis, who is screening his latest feature Lover For A Day. Philippe Garrel’s 2015 feature In The Shadow Of Women is also showing at this year’s festival, with lead actress Clotilde Courau attending to deliver a masterclass after the screening. Tom Grater


West Of The Jordan River

NEWS Doing the business Top international film execs descend for festival’s Industry Days » Page 4

FEATURE Toughing it Israeli producers feel the squeeze » Page 8

REVIEW West Of The Jordan River Amos Gitai’s documentary chimes with hopeful possibility » Page 15


» Page 16-18

JFF’s Melville retrospective shoots to thrill BY TOM GRATER

This year’s festival will pay tribute to French filmmaker Jean-Pierre Melville, with 2017 marking 100 years since the legendary director was born in Paris. “I adore Melville,” says Elad Samorzik, the festival’s artistic director. “He’s one of the smartest filmmakers of all time, he creates a lot of depth in his films but he keeps them very entertaining. They are thrillers but they have such an interesting artistic perspective.” Produced with the French Institute Israel, the retrospective will feature seven of Melville’s films, including Le Samouraï, Army Of Shadows, The Red Circle and Leon Morin, Priest. Serge Toubiana, the newly announced head of French filmexport organisation UniFrance, will be in Jerusalem to talk about Melville with journalist and Screen International critic Dan Fainaru, prior to the screening of Le Samouraï on Friday.

Le Samouraï


Israeli VR showcases sublime possibilities BY TOM GRATER Hengameh Panahi

Dylan Leiner

Mike Goodridge

Josh Berger

Karel Och

Matthijs Wouter Knol

JFF thinks bigger for this year’s programme BY MELANIE GOODFELLOW

Jerusalem Film Festival (JFF) is running its biggest ever industry programme this year with a host of events lined up, which will tackle the filmmaking chain from development through to festivals and distribution. Key events include the Sam Spiegel Lab pitching session, the inaugural Think Fest, which will explore the challenges facing film festivals (see page 10), and the Jerusalem Pitch Point meeting, aimed at connecting upcoming Israeli productions with international partners. More than 70 top industry figures from the US and Europe are flying in, including French producer Saïd Ben Saïd, whose recent credits include Philippe Garrel’s Lover For A Day which screens in this year’s festival; Hengameh Panahi, founder and president of Paris-based Celluloid Dreams; Dylan Leiner, senior executive VP of acquisitions and production at Sony Pictures Classics; CAA’s cohead of TV Adam Berkowitz; Tanja Meissner, head of sales at Paris-based Memento Films International; and Josh Berger, chairman of the British Film Institute and managing director of Warner Bros UK, Ireland and Spain. “This year we have a huge number of guests but it’s not just the amount but also the quality,” says Ariel Richter, JFF’s new director of Israeli competitions and industry days. “We’re not

Cannes, Berlin or Venice but still people come, and then often return. It shows a continuing interest in Israeli films and filmmakers and is also a badge of honour for the festival. “This has to be one of our biggest industry days programmes yet thanks in part to the creation of Think Fest,” he adds. Guests coming in for the first edition of Think Fest on Friday (July 14) include Karel Och, artistic director of Karlovy Vary International Film Festival, who has hotfooted it to Jerusalem from the latest edition of the Czech festival, which ended last weekend. Other festival chiefs in attendance will include Bero Beyer from Rotterdam, Locarno’s Carlo Chatrian, Istanbul’s Kerem Ayan, Sarajevo’s Mirsad Purivatra and Mike Goodridge, who recently announced his departure from his current position as CEO of UK sales outfit Protagonist Pictures to become artistic director of Macao Film Festival. Prior to the Think Fest panel discussions on Friday afternoon, industry guests will be checking out the latest batch of projects at Mishkenot Sha’ananim to have been developed under the auspices of the Sam Spiegel Lab. A total of 10 works are vying for $70,000 worth of prizes. Panahi returns to chair the jury this year, which also includes Beki Probst, president of Berlin Film Festival’s

4 Screen International at Jerusalem July 13, 2017

European Film Market (EFM), Katriel Schory from the Israel Film Fund and Paris-based Croatian producer Cedomir Kolar. “It’s not a festival event but we’re happy to welcome it at the festival,” says Richter. The industry events carry on into next week with Pitch Point (July 16-17) at which Maya Kenig, Tawfik Abu Wael and Idan Hubel will be among the directors presenting their upcoming works. Jury members include Goodridge, EFM director Matthijs Wouter Knol and Meinolf Zurhorst, head of the Arte Film Department at German broadcaster ZDF. Other Industry Days events include a series of panel discussions on Sunday (July 16) touching on hot topics such as digital distribution and marketing material design. “When I was designing the programme, I tried to think of four topics that would interest me,” says Richter. “It’s hard to get people in for these programmes as they would rather go see a movie but I think we have some speakers that will draw people in.” The talks kick off with a discussion titled ‘One Film, Many Platforms – A Distribution Panel’ involving Goodridge, Wouter Knol, Leiner and Michal Steinberg, executive VP, business affairs at Entertainment One. “This is the sort of panel that would not look out of place at one of the big A-list festivals,” notes Richter.

This year’s festival may not have a dedicated virtual reality (VR) strand but visitors to Jerusalem can still get a taste of the fledgling Israeli VR industry by visiting the Tower of David Museum, located near the Jaffa Gate entrance to the Old City, today. There, producer Nimrod Shanit — who helped to curate last year’s VR showcase at JFF — will be demoing two VR experiences produced by his company Blimey, a Tel Aviv-based production outfit. One of these experiences, The Holy City, is produced with Sean Thomas Evans of Toronto-based VR company Occupied. Pitched as an ‘escape room’ project, the experience aims to immerse viewers into the lives of people who live in Jerusalem and focuses on three different religious perspectives: Christian, Muslim and Jewish. Also showing today is Once Upon A Sea, a 360-degree VR documentary that chronicles the demise of one of Israel’s most noted natural wonders, the Dead Sea. Directed by Adi Lavy and produced by Ina Fichman, the

The Holy City

film immerses the viewer in the spectacle of what remains of the sea. It demoed at the recent HotDocs festival in Toronto, Canada. Shanit intends to submit both projects to the new VR-focused fund run in partnership between the Jerusalem Film Fund and the Canada Media Fund, with a view to developing them further. Submissions are open until October and the funds will jointly invest $75,000 towards development and $150,000 towards production of projects including VR and AR. The Tower of David Museum event is part of a half-day conference about the possibilities for VR and emerging entertainment technologies in Israel, which is being run by US-based start-up accelerator MassChallenge.

Festival to roll out across city BY TOM GRATER

This year’s Jerusalem Film Festival has a notable addition in the form of JFF On The Go, a mobile cinema that has been specially commissioned to take screenings to every corner of Jerusalem. The initiative is comprised of two seven-metre trucks, one of which houses a DCP projector, while the other acts as a screen to be projected upon. There are 150 moveable seats, which are stored for travel in one of the vehicles. “Our aim is to reach broader and more diverse audiences through this project,” says Tamar Meir, who headed up the project and is the creative director for the festival’s outdoor activities programme. “The films are being tailor-curated for the specific neighbourhoods; we’re going to Arab neighbourhoods as well as orthodox Jewish neighbourhoods.” The project was backed by

The projector truck

the Jerusalem Development Authority, which is supporting the initiative to help take the festival into wider sections of the city. JFF On The Go is scheduled to visit eight different neighbourhoods between Thursday July 20 and Thursday July 28, screening a wide selection of titles. The run kicks off with a showing of Amit V Masurkar’s Newton, at Tunik Square in Pisgat Zeev, east Jerusalem, and will close with a showing of Matan Yair’s Scaffolding, which is programmed in JFF’s Israel Feature Competition, at Mexico Park in Kiryat Menachem, southwest Jerusalem.










(Left to right) Louis Garrel, Michel Hazanavicius and Stacy Martin on the set of Redoubtable

Deconstructing Godard French filmmaker Michel Hazanavicius speaks to Melanie Goodfellow about his Jean-Luc Godard tribute Redoubtable, which opens Jerusalem Film Festival tonight


rench director Michel Hazanavicius’ comedic Jean-Luc Godard tribute Redoubtable opens Jerusalem Film Festival tonight in its first international screening since premiering in Competition at Cannes. The film’s colourful portrait of the iconic cineaste, set against the backdrop of the civil unrest which swept France in 1968, divided critics on the Croisette. But Hazanavicius was aware from the moment he began developing the film that he would be stepping on sacred ground. “Everyone working in cinema owes something to Godard, he opened so many doors. There are some people out there who think it’s blasphemous to make a film about Godard,” he says. “I made Redoubtable in a spirit of admiration and respect for Godard and his work, at the same time as aiming to make a film that was entertaining and appealing to a wider audience.” Produced by Hazanavicius, Florence Gastaud and writer-director Riad Sattouf, with Wild Bunch handling sales, the film focuses on the period surrounding the release of Godard’s 1967 film La Chinoise. Revolving around a gang of disaffected students with Maoist sympathies who plot a political assassination, it was one of

‘There is a real Jean-Luc Godard who exists, but no one really knows him. My aim is not to create a carbon copy of Godard’ Michel Hazanavicius

Stacy Martin in Redoubtable

Godard’s least successful films at the box office but marked the beginning of his socalled “revolutionary period”. Having made his name as one of the founders of the French New Wave with classics such as Breathless and Contempt, the director, then in his late 30s, got swept up in the anti-establishment protests of 1968. As well as militant acts such as shutting down Cannes that year in cahoots with François Truffaut and Claude Lelouch, Godard would become increasingly politically engaged in his filmmaking.

6 Screen International at Jerusalem July 13, 2017

“I capture a very short period in his life around 1967 and 1968 when Godard was in the middle of a personal and artistic crisis,” says Hazanavicius. “He was one of the best-known directors of his generation — the Tarantino of his time if you like. Then shortly after La Chinoise, he set up the Dziga Vertov cinema collective and moved away from mainstream cinema altogether to make very obscure films with hardly any audience at all.” Inspiration for Redoubtable came from the memoirs of Godard’s ex-wife Anne

Wiazemsky, Un An Après, recounting the disintegration of their relationship against the backdrop of the late 1960s. The young actress, who met Godard while studying for her baccalauréat at the age of 18, appeared in La Chinoise as well as the director’s Weekend and One Plus One. “It offered an opening into Godard’s life,” says Hazanavicius. “I liked the idea of telling his story through the eyes of a woman, and moreover a woman in love. The intelligence of Anne Wiazemsky’s account lies in the way she manages to retain the aspect of an intimate diary. She doesn’t recount the story from the point of view of the woman she is now, but rather the woman she was then, which gives it a certain freshness. There was also this humour which made me think of an Italian-style comedy that I liked.” Wiazemsky gives a unique insight into


Redoubtable star Louis Garrel, who is in Jerusalem for tonight’s screening, talks to Melanie Goodfellow about reincarnating Jean-Luc Godard on the big screen What drew you to playing Jean-Luc Godard? Both the cinema and the personality of Jean-Luc Godard have always interested me, but when Michel first talked to me about the role I wasn’t that keen. I was wary of playing a figure with such a high public profile. But then he sent me the script. I liked the combination of love story and comedy that also captured an important period in recent French history, as well as a key moment in the life of an artist.

Louis Garrel in Redoubtable

a figure who remains an enigma despite his once-enormous presence in the media, especially in France. “There is a real Jean-Luc Godard who exists, but no one really knows him,” says Hazanavicius. “My aim is not to create a carbon copy of Godard. I’m inventing Jean-Luc Godard out of the Jean-Luc Godard created by Jean-Luc Godard, and Anne Wiazemsky’s account is another variation of a Jean-Luc Godard also created by Jean-Luc Godard. “He is a complex character,” he continues. “He is not necessarily very nice as a person. He has a capacity for cruelty but can also be incredibly friendly and generous. He has this charisma and desire to be in the public eye but at the same time craves privacy — there are lots of paradoxes.” Light touch Wiazemsky was at first reluctant to grant an option on the book but when Hazanavicius mentioned how much he liked the humour in her account, she agreed to let him adapt the work. “She’d turned down a number of other filmmakers and in fact she turned me down at first too,” he says. “Before putting the phone down, I said it was a shame because I’d found the work so funny to which she replied, ‘Really? So do I but no one else seems to. I thought I was the only one.’ It all moved on rapidly from there.” Louis Garrel’s performance as Godard — opposite French-British actress Stacy Martin as Wiazemsky — won praise in Cannes. Garrel’s physical likeness to the director in the film is also remarkable, but Hazanavicius says it was not any resemblance in real life that drew him to Garrel for the role. “Garrel is actually very goodlooking, while Godard is not that handsome,” he says. “But what Godard did have was charisma. It’s often hard to convey charisma on the big screen but I thought someone with Garrel’s looks and physique could pull that off.”

‘While we were shooting, Godard asked if he could see the screenplay, so I sent it to him. I never got a response’ Michel Hazanavicius

Like Hazanavicius’s Oscar-winning 2011 film The Artist, set against the backdrop of Hollywood’s silent era, Redoubtable pays homage to a key period in cinema and French history through its aesthetics and style. “I tried to recreate the atmosphere of the 1960s through the cinema of Godard, playing with the way in which he used images and experimented with narrative forms and editing in a similar fashion, as a sort of homage to his work,” says the director. Godard fans will spot visual allusions to classics such as A Married Woman, Contempt, Weekend and Pierrot Le Fou, as well as lesser-known works such as Wind From The East, made during the Dziga Vertov cinema collective period. “Spectators who know Godard’s works might have fun spotting these influences but those unfamiliar with his filmography should be able to simply enjoy the aesthetic for what it is and how it captures the period,” says Hazanavicius. Wiazemsky has told French press that she is pleased with the film. Hazanavicius has no idea, however, of Godard’s opinion. “I sent him a note the day the film went into pre-production. While we were shooting, he asked if he could see the screenplay, so I sent it to him. I never got a response,” he reveals. “When the film was finished, I sent another note saying I could organise a screening but I didn’t get a reply. To be honest, I wasn’t s expecting a response.” ■

It’s a complex role in which Godard is at once cruel and comic. Was it difficult to bring these two elements together?

‘I was wary of playing a figure with such a high public profile’

I played the character written by Michel. In the film, Godard is someone who wants to go in a certain direction but Louis Garrel those around him won’t let him go there. It’s not that he is necessarily mean. He met the woman he loved under a different set of circumstances but as he goes through this period of change, this creates a tension. The story is a bit like a Russian doll, if you like. You have the backdrop of a country in crisis, in which Godard is an artist in crisis, that in turn creates tension in his personal relationship, so you then have a couple in crisis.

This is not the first time you have starred in a film set against the backdrop of 1968. Is it a period of French history that interests you? When I was a high-school student, I would get involved in demonstrations — it’s a sort of rite of passage in France and a mark of becoming a citizen. We’d look on the students of 1968 with a mix of admiration and envy for the way in which they brought the country to a halt. We were fascinated by what they’d done. It was an obstacle too because we didn’t want to simply imitate a past generation. One of my first roles was in [Bernardo] Bertolucci’s The Dreamers, which takes place against the backdrop of the 1968 protests, and then I played in my father Philippe Garrel’s film Regular Lovers, which is again set then. After that, one of my own shorts featured a scene capturing the shoot of a film set in ’68, and then Michel approached me with this role. It’s got to the point where characters from the different films are beginning to bump into one another at demonstrations. It’s as if my fascination with the period has trapped me in some way [laughs].

What are you working on now?

Louis Garrel in Redoubtable

I am currently on the set of Pierre Schoeller’s Un Peuple Et Son Roi, about the French Revolution. I am playing Robespierre, another highly political figure but this time not treated in a comic manner.

July 13, 2017 Screen International at Jerusalem 7


The big squeeze Israel’s film industry continues to punch above its weight internationally but its indie producers feel under pressure at home, discovers Melanie Goodfellow

The Cakemaker


s the producer of Ofir Raul Grazier’s buzzed-about The Cakemaker, veteran Israeli producer Itai Tamir of Tel Aviv-based Laila Films is set for a highprofile Jerusalem Film Festival (JFF) this year. The drama plays in the Israeli feature competition, after a wellreceived world premiere in competition at Karlovy Vary at the beginning of the month. He will also present two highly anticipated projects at the rough-cut stage at the festival’s Jerusalem Pitch Point event: gritty social drama No Future, set against the backdrop of the hip-hop scene in the southern city of Ashdod, and Red Heifer, which is about a young woman who rebels against her upbringing in a religious settlement. But speaking on the phone from Karlovy Vary ahead of Jerusalem, Tamir is gloomy. “Like the title, No Future, I don’t see a future. It’s always been hard but right now it’s really, really difficult. Many of my people have left the country,” he says, rattling off a list of past collaborators including directors Nony

‘It’s always been hard but right now it’s really, really difficult’ Itai Tamir, Laila Films


Geffen, Daniel Mann and Grazier, as well as cinematographer Ziv Berkovich, who have recently headed to either the US or Europe. “I have one more film I’m going to shoot in the fall [Ram Loevy’s The Dead Of Jaffa] and then I’ll see. I have a number of other projects in development but they haven’t won the support of the

8 Screen International at Jerusalem July 13, 2017

funds so I can’t see how I am going to get them off the ground.” Tamir’s pessimism could perhaps be attributed to the fatigue of a veteran independent producer temporarily worn out by one film financing battle too many — but his comments about a funding squeeze are echoed throughout the industry.

“It’s virtually impossible to finance a film fully only out of Israel,” says Eitan Mansuri, co-head of Spiro Films, one of the country’s most dynamic independent production companies, which currently has an upcoming slate of films by Samuel Maoz, Talya Lavie, Yuval Adler and Nir Bergman. The country’s annual state budget for film of around $20m remains stable, at least until the end of 2018, but producers say there is increasing competition for a piece of the pie meted out by the country’s cinema-focused funds led by the Israel Film Fund and the Yehoshua Rabinovich Foundation for the Arts. “It’s a small cake and we have a lot of

‘It’s virtually impossible to finance a film fully only out of Israel’ Eitan Mansuri, Spiro Films

talent,” says Elad Gavish of Marker Films, whose credits include local boxoffice hit The Last Band In Lebanon and Tali Shalom-Ezer’s Princess, which premiered at Sundance in 2015. Part of the problem, say producers, is the withdrawal of local broadcasters from the feature film financing scene. “They’ve walked away from local cinema,” says Naomi Levari of Black Sheep Productions, which was at Cannes in 2016 with Asaph Polonsky’s One Week And A Day screening in Critics’ Week. Mansuri recounts how he went to broadcasters seeking investment for Maoz’s upcoming film Foxtrot shortly after the director’s Venice Golden Lion win for Lebanon. “We couldn’t get any of the Israeli television channels to board his next film,” he recalls. “They have all sorts of obligations but I think they prefer to pay a fine than board a film — it costs them less. “I also get it. They have relatively few slots left in their schedules for cinema and can’t broadcast the films until long after they’ve left cinema screens, by which time everyone’s forgotten about them. Why would they make an investment from which they won’t see a dime?” This only major source of non-state film finance is Leon and Moshe Edery’s distribution company United King Films, which backs a mixture of arthouse and commercial titles. Its recent investments include Scaffolding, which premiered at Cannes in the ACID section and plays in the Israeli feature competition at JFF, as well as recent local box-office hits such as The Last Band In Lebanon and The Women’s Balcony. “It’s an option but of course then you lose some control of the back-end,” comments one producer. International focus Against this backdrop, Israeli producers are increasingly looking outside of the country for finance and production opporRight: The Last Band In Lebanon

tunities. Europe has long been a first port of call, although hopes of deepening this relationship were dealt a blow earlier this year by the 11th-hour failure in January of a long-negotiated deal for Israel to join the European Union’s Creative Europe funding programme. The deal fell in the final stages after Benjamin Netanyahu’s government refused to sign off on an EU clause excluding Israeli settlements built on Palestinian land in the West Bank from receiving European grants. The EU does not consider these settlements to be part of Israel. “It would have been a game-changer for the industry if it had gone through,” says Katriel Schory, executive director of the Israel Film Fund. Despite this setback, Europe — and especially France and Germany — remain key sources of co-production finance for many of Israel’s independent producers, although there too the situation is getting tougher. “Germany still remains one of the best places for us to find co-production money but they’re less interested in seeing films coming out of Israel,” says Mansuri. “They’ve got new interests and there too it’s becoming difficult to get TV channels on board.” New sources Like their cash-strapped counterparts all over the world, Israel’s indie producers are, of course, busy looking for other sources of funding and revenue. A number of producers are putting out feelers beyond Europe. Gavish is trying to launch feature and TV projects in the US, where he says he made a number of good contacts when he accompanied Princess to Sundance. Gal Greenspan of Tel Aviv-based Green Productions is currently exploring the creation of a satellite company in Australia, where he has family ties. Green Productions also runs a successful commercials production arm and has secured EU funding for not-forprofit productions in the past. Award-winning director-producer Eran Riklis is also mulling the creation of a production operation with an international remit. And several producers who were hitherto associated with cinema are now jump-



Israel’s funding bodies and the projects they finance are facing increased scrutiny from the country’s right-leaning administration eyond the immediate challenges of financing a feature film out of Israel, the country’s filmmaking community is also pondering its longer-term future under the right-leaning government of Benjamin Netanyahu. Throughout Israel’s 70-year history, its filmmakers have never shied away from exploring the Israeli-Palestinian conflict or domestic social ills, alongside making plenty of comedies and feel-good dramas set against the backdrop of the country. But some fear this is changing under the rule of current Israeli culture minister Miri Regev, who believes state funding should not be given to cultural works which are critical of the country. Early this year, Regev launched an inquiry into the New Fund for Cinema and TV’s funding of the documentary Megiddo, about the lives of Palestinians held in Israeli jails, and threatened to withdraw state support for the fund.


ing into TV drama in keeping with a trend that is being seen worldwide. Mansuri’s Spiro Films has just embarked on the production of its first TV drama series, When Heroes Fly, written and directed by Omri Givon, one of the creators of hit Israeli series Hostages. The 10-part series about four Israeli special forces veterans who head to Colombia to track down a missing girlfriend was commissioned by broadcaster Keshet and aimed in the first instance at the Israeli market. Spiro is also developing two drama series aimed at the interna-

She has also recently ordered an audit of all the funds, investigating how different film projects came to win state backing. It is expected to be ready in the coming weeks, although it is not clear how its findings will be used. Under Israeli law, Regev cannot intervene directly in how cinema spending is awarded without changing legislation, and even then she would have to wait until the end of the current spending envelope in 2018 — by which time she may not be culture minister. Producers, however, fear that filmmakers are already self-censoring and avoiding politically sensitive material, especially if they need state backing. Others fear Regev will try to tinker with the reading committees at the funds involved in the selection of projects. “The political appointment of readers would be a red line,” said one s producer. ■ Melanie Goodfellow

tional market in-house, including thriller Fertile Crescent, about a man who goes into war-torn Syria in search of his missing sister. The project, co-produced with Parisbased Haut et Court, won the top prize at the Series Mania Co-production Forum in the French capital in April. “We are trying to develop series that are completely international so there does not even have to be an Israeli angle or element in there,” says Mansuri. “This is the only way forward for us as it is becoming impossible to maintain a pros duction company that does only films.” ■

July 13, 2017 Screen International at Jerusalem 9


Nir Shaanani

Headline goes here Thinking ahead

Standfirst here over two lines Hitatum adisinti si optasped eaqui qui issitin ctotatiae dus eliame sunto ea Experts will have a rare opportunity delve intoinit the issues facing film festivals at JFF’s pla di omni aborum eum a quias et,to nulparum velmany ipsunt, sed molluptaquo omnimusant inaugural Think Fest summit. Wendy Mitchell looks at the hot topics festival heads will explore Film Title (UK) Dir Name here

moloreratiis enisciusdae nonsequiam, ea venimperume vid quatur.m faciis adicita sitam diossit volorro nonsequiam, ea venimperume vid quatur.

Tis modi solectios il is untur ad quam Rearum, a quissus excerem quis escium quiatiis ent id ut quatem quisci rem faciis adicita sitam diossit volorro vitatem haruptatur moloreratiis enisciusdae nonsequiam, ea venimperume vid quatur. Tis modi solectios il is untur ad quam Rearum, a quissus excerem quis escium quiatiis ent id ut quatem quisci rem faciis haruptatur moloreratiis enisciusdae.

Film Title (UK) Dir Name here Tis modi solectios il is untur ad quam Rearum, a quissus excerem quis escium quiatiis ent id ut quatem quisci rem faciis adicita sitam diossit volorro vitatem haruptatur Tis modi solectios il is untur ad quam Rearum, a quissus excerem quis escium quiatiis ent id ut quatem quisci rem faciis adicita sitam diossitam diossit volorro vitatem haruptatur moloreratiis enisciusdae nonsequiam, ea veit volorro.

Contact Person name,company name emailaddress@here Website

Film Title (UK) Dir Name here


Tis modi solectios is untur quam or such ila vital partad of the indeRearum, a quissus excerem quis escium pendent film ecosystem, film quiatiis ent idfestivals ut quatem quisci rem faciisget themselves rarely adicita sitam vitatem thediossit chancevolorro to reflect on their haruptatur moloreratiis enisciusdaein a own challenges and opportunities nonsequiam, venimperume quastructuredeaway. That is setvid to change tur. with the inaugural Think Fest, a threeTis modi solectios il isFestival untur ad quam day Jerusalem Film (JFF) sumRearum, a quissus excerem quis mit that will welcome filmescium festival proquiatiis ent id ut artistic quatemdirectors quisci remand faciis organisers, grammers from around thevitatem globe for adicita sitam diossit volorro discussions, closed-door public panel haruptatur moloreratiis enisciusdae talks and ea networking. nonsequiam, venimperume vid. Contact“After Person name,company name the several years travelling emailaddress@here Website international festival circuit, I was struck by the number of industry events Film Titleinternational (UK) gathering producers, distributors, sales agents and even filmDir Name here makers,” says JFF artistic director Elad Tis modi solectios il isother untur ad quam “On the hand, connecSamorzik. Rearum, quissus film excerem quisprofessionescium tions abetween festival quiatiis ent id uttoquatem quisci rem als seemed be narrower and faciis in large based on personal relationships adicita diossit volorro vitatem or partsitam very specific collaborations. Noa haruptatur moloreratiis enisciusdae [Regev, JFF’s festival director] I felt nonsequiam, ea venimperume vidand quatur. the opportunity existed for a new platform to provide with own modi solectiosfestivals il is untur adtheir quam Tis a wider-ranging exchange, spaceafor Rearum, quissus excerem quis escium as wellent as id tout work on new synergies and quiatiis quatem quisci rem faciis promoting our mutual interests. ” adicita sitam diossit volorro vitatem Think moloreratiis Fest (13-15 July) will include haruptatur enisciusdae public talks film festivals’ role in nonsequiam, eaabout venimperume vid quatur. Tis solectios il is untur ad quam themodi age of streaming platforms; how a quissus quis escium Rearum, festivals work excerem with shrinking budgets Contact name,company name redandPerson increased pressure to deliver emailaddress@here Website carpet glamour; and how festivals are Film Title (UK)

Contact Person name,company name

moving into distribution. These will also welcome other industry experts in town for Jerusalem’s industry activities and Pitch Point. Picture caption hereFest’s closed-door sesDuring Think sions, hot topics are expected to include premiere policies, screening fees, public funding and the opportunity to create an umbrella organisation for festivals. About 15 festival experts will attend specifically for Think Fest (this is in addition to Jerusalem’s other industry attendees). They include representatives from Berlin, Locarno, Rotterdam, Goteborg, Busan, Thessaloniki, Istanbul and Vilnius, among others. Samorzik was enthused by the response to the inaugural event, even Picture caption here schedules. “People with busy summer felt it was a great idea and about time we collaborate, sit together and reflect onName the situation Dir here nowadays, which has become challenging for most festivals.” Tis modi solectios il is untur ad quam Rearum, quissus excerem quis escium Festivalasolidarity quiatiis ent id ut quatem quiscicommittee rem faciis The Think Fest steering adicita sitam diossit volorrodirector vitatem includes Karel Och, artistic of haruptatur Karlovy Vary International Film Festival, Tis modi solectios is unturdirector ad quam and Frederic Boyer,ilartistic of Rearum, quissus excerem quis escium Tribeca aFilm Festival and Les Arcs European Film Festival. Boyer says rem he already quiatiis ent id ut quatem quisci faciis “sharing joy and pain” feels solidarity adicita sitam diossitafgfdighfidhgidfhigand talking films year-round with fdh gm diossitabout volorro vitatem haruptat ufestival r m ocounterparts. l o r e r a t i i s Yete Think n i s c iFest u s dwill ae ea to veittake volorro. give a chance the conversation nonsequiam, Contact name,company deeper.Person He describes a huge listname of topics

10 Screen International at Jerusalem July 13, 2017



‘It was about time we collaborated and reflected on what are challenging times for most festivals’ Elad Samorzik, JFF

he wants to explore at Think Fest: “Are festivals a new type of distribution? With streaming, are we playing a film with no future on screen? How can festivals be attractive to the younger audience? Should a film festival show only films or Picture caption also VR and newhere technologies?” Boyer also wants to discuss the threat from premium TV such as Film Title (UK) Homeland or Big Little Lies “replacing the cinema’ from the past” and Dir‘serious Name here how top auteur filmmakers are now Tis modiwith solectios il is untur working streaming giants ad whoquam do Rearum, a quissus excerem quis not always need film festivals in escium their quiatiis entplans. id ut quatem quisci rem faciis marketing adicita sitam diossit vitatem Karlovy Vary’s Och volorro is keen to talk haruptatur about how most festivals are “trying to Tisthe modi solectios il is untur ad quam fulfill original mission, to serve the Rearum, quissus exceremtoquis escium films andathe filmmakers, facilitate quiatiis ent id quatem quisciwith rem our faciis the meeting ofut the filmmakers adicita sitam diossitam diossit volorro audiences. This might create eventual vitatem and haruptatur moloreratiisboth enistensions misunderstandings ciusdaefestivals nonsequiam, veitproducers, volorro. among and ea with Contact Person name,company name sales companies and distributors. ” emailaddress@here


emailaddress@here Website Mirsad Purivatra, director and cofounder of Sarajevo Film Festival, says Title (UK) heFilm often consults with international colleagues informally Dir Name here or at dinners and meetings at other festivals, but having a Tis modiprogramme solectios ilatisThink unturFest ad quam structured is Rearum,toa cement quissus closer excerem quis escium appealing collaboration. “Theent first Festquisci couldrem be afaciis quiatiis id Think ut quatem great starting point for better reflection adicita sitam diossit volorro vitatem onharuptatur the role of film festivals and how to improve our collaboration, he says. Tis modi solectios il is” untur ad quam The organisers and festivalquis heads Rearum, a quissus excerem escium would loveent to see Fest expand quiatiis id utThink quatem quisci reminfaciis future years, potentialy in other adicita sitam diossitam diossitlocavolorro tions and seasons (the July dates meanenisvitatem haruptatur moloreratiis ciusdae nonsequiam, veit volorro. from autumneafestivals such colleagues name,company name as Contact Toronto,Person Venice and San Sebastian emailaddress@here will find it hard to attend). Website Purivatra adds: “We need this kind of meeting Film Title place for our talks(UK) and why not think about Think Dir more Name hereFest editions during the year in different cities?” Tis modi solectios il is untur quam Samorzik expects Think Festad will Rearum, quissus escium return to JFFafor 2018 ifexcerem fundingquis is availquiatiis ent idlove ut quatem quisci remtofaciis able, but would to see it expand festivals. “Wediossit are trying to create a adicita sitam volorro vitatem other wider space for exchange and collaboraharuptatur tion Tis between festivals, can modi solectios il iswhich untur ad quam intoaaquissus larger network ofquis events, ” develop Rearum, excerem escium he quiatiis says. “I ent hope festivals willrem con-faciis idother ut quatem quisci sider holding similar gatherings. ” escium quiatiis ent id ut quatem quisci “This issitamm a pilot di year; I am Och rem adds: faciis adicita moloreratiis convinced that during our discussions enisciusdaenonsequiam, ossitam diossit in Jerusalem we will touch many topics volorro vitatem haruptatur moloreratiis onenisciusdae which we can build the ea growth of nonsequiam, veit volorro. s name,company name n theContact event.”Person emailaddress@here


‫קרן הקולנוע הישראלי בפסטיבל הקולנוע ירושלים‬ THE ISRAEL FILM FUND AT THE JERUSALEM FILM FESTIVAL

‫אוויר קדוש‬ ‫ שאדי סרור‬:‫ תסריטאי‬/ ‫במאי‬ ‫ שאדי סרור‬,‫ אילן מוסקוביץ‬:‫מפיקים‬

Holy Air Director & Script: Shady Srour Producers: Ilan Moskovitch, Shady Srour

‫געגוע‬ ‫ שבי גביזון‬:‫ תסריטאי‬/ ‫במאי‬ ‫ אברהם‬,‫ תמי ליאון‬:‫מפיקים‬ ,‫ שבי גביזון‬,‫ חיליק מיכאלי‬,‫פרחי‬ ‫ לאון אדרי‬,‫משה אדרי‬

‫מוטלים בספק‬

Longing Director & Script: Savi Gabizon Producers: Tami Leon, Avraham Pirchi, Chilik Michaeli, Savi Gabizon, Moshe Edery, Leon Edery


‫ אלירן אליה‬:‫ תסריטאי‬/ ‫במאי‬ ‫ אורן רוגובין‬:‫מפיק‬

Director & Script: Eliran Elya Producer: Oren Rogovin

‫מות המשוררת‬

Death of a Poetess

,‫ דנה גולדברג‬:‫ תסריטאיות‬/ ‫במאיות‬ ‫אפרת מישורי‬ ‫ דנה גולדברג‬:‫מפיקה‬

‫משפחה‬ ‫ רוני קידר‬:‫ תסריטאית‬/ ‫במאית‬ ‫ תנאסיס קרתאנוס‬,‫ מוש דנון‬:‫מפיקים‬

‫פיגומים‬ ‫ מתן יאיר‬:‫ תסריטאי‬/ ‫במאי‬ ,‫ רועי קורלנד‬,‫ גל גרינשפן‬:‫מפיקים‬ ,‫ משה אדרי‬,‫סטניסלב דייז'יק‬ ‫לאון אדרי‬

Director & Script: Dana Goldberg, Efrat Mishori Producer: Dana Goldberg

Family Director & Script: Veronica Kedar Producers: Mosh Danon, Thanassis Karathanos

Scaffolding Director & Script: Matan Yair Producers: Gal Greenspan, Roi Kurland, Stanisław Dziedzic, Moshe Edery, Leon Edery


-‫חפשו אותנו גם ב‬

REVIEWS Reviews edited by Fionnuala Halligan

The Other Side Of Hope Reviewed by Dan Fainaru

Redoubtable Reviewed by Jonathan Romney Arguably, more question marks hung over Redoubtable than is usual for a Cannes Competition film, when it premiered there in May. Now opening Jerusalem, it dares to take on the life of an icon of French cinema, Jean-Luc Godard, still very much alive and against the idea of such a biopic. Director Michel Hazanavicius (The Artist) was dismissed as too lightweight a talent for the task, and early stills of Louis Garrel as Godard suggested the mother of bad hair days. Yet Redoubtable pretty much merits its title. Dazzlingly executed, this is a hugely enjoyable act of stylistic homage, but also a poignant story of a marriage and an insightful recreation of a critical and contradiction-ridden period of modern French history. Only hardcore Godardians would reject it out of hand. The film is the story of Godard’s short-lived marriage to actress and, later, novelist Anne Wiazemsky, on whose autobiographical work One Year Later (Un An Apres) it is substantially based. Much of the film is narrated in voiceover by Wiazemsky (Stacy Martin), who married Godard when he was 37 and she was 19, having starred in his Maoist-influenced film La Chinoise. Divided into chapters and set largely in the critical year of 1968, Redoubtable traces their difficult relationship from La Chinoise until they split after his radical Vent d’Est (1970). Much of Redoubtable centres on Godard, and Garrel’s magnetic performance, rather than on Wiazemsky and, in many ways, the film is an act of impersonation, not least stylistically. Garrel jettisons his usual, often distractingly narcissistic mannerisms to submerge himself in an evocation of Godard that is not just imitation. Compellingly and often very amusingly, he evokes a man tormented by self-doubt, political anguish and fear of ageing, combining melancholic vulnerability with streaks of buffoonery. Martin does not resemble Wiazemsky, but she conveys a fragile coolness and intelligence that emerge from behind her inexperience. Cinematographer Guillaume Schiffman channels superbly the vivid palettes and precise compositions of Raoul Coutard’s 1960s camerawork, while Hazanavicius revels in his own versions of the disorienting visual, sonic and editing tricks associated with Godard — with the fourth wall taking numerous, very droll batterings.

12 Screen International at Jerusalem July 13, 2017

OPENING FILM Fr. 2017. 107mins Director/screenplay Michel Hazanavicius Production companies La Classe Américaine, Les Compagnons Du Cinéma, Studiocanal International sales Wild Bunch, sales@ Producers Michel Hazanavicius, Florence Gastaud, Riad Sattouf Cinematography Guillaume Schiffman Production design Christian Marti Editor Anne-Sophie Bion Main cast Louis Garrel, Stacy Martin, Bérénice Bejo, Grégory Gadebois, Micha Lescot

Here is Aki Kaurismaki’s gift to the Donald Trump age — one that the US president is not likely to appreciate. A follow-up to Kaurismaki’s last film Le Havre, in which the West encountered Third World refugees, Berlin Golden Bear winner The Other Side Of Hope takes things one step further. The story here is not just about helping homeless survivors in transit on their way to another destination, but accepting them in one’s own home and country — a more complicated and much longer commitment. All the familiar Kaurismaki trademarks are here in this story of a Syrian refugee in Helsinki, be it the dry, laconic humour, the spare, unadorned images and even a brief guest performance by his favourite actress, Kati Outinen. It may be true that his new film has a thinner plot that resorts a bit too often to arbitrary solutions, but the simple decency of his characters remains untouched. Kaurismaki fans will not want to miss this one and a festival career is certain. The script follows two very different men in mid-life looking for a new start. The first is Wikstrom (Sakari Kuosmanen), a fiftyish Finnish salesman who leaves his wife, sells his clothing stock and buys himself a restaurant. The second, Khaled (Sherwan Haji), is a Syrian whose home has been bombed, killing all his family apart from his sister. He has illegally crossed borders from Turkey to Scandinavia and goes to the police to ask for political asylum. The Finnish authorities, however, believe Aleppo is not a particularly dangerous place, and intend to send him back. So Khaled runs away, and becomes one more illegal fugitive on the streets of a European capital. One day, Wikstrom finds Khaled hiding behind his restaurant and takes him in. He provides the Syrian with illegal papers, serviceable enough for everyday use if not for international travel, and even helps him to look for his sister. Wikstrom does this without any hesitation, simply because he feels it is only natural to behave this way. As economical in his visual style as he is with his dialogue, Kaurismaki makes the most out of having his actors do the least. He does not feed the audience any lines or messages, he lets them discover this film all on their own.

SPIRIT OF FREEDOM Fin-Ger. 2017. 98mins Director/producer/ screenplay Aki Kaurismaki Production company Sputnik Oy International sales The Match Factory, Cinematography Timo Salminen Editor Samu Heikkila Production design Ville Gronroos, Heikki Hakkinen, Markku Patila Main cast Sherwan Haji, Sakari Kuosmanen, Janne Hyytiainen, Ilkka Koivula, Nuppu Koivu, Simon Hussein Al-Bazoon, Niroz Haji, Kaija Pakarinen

» Redoubtable p12 » The Other Side Of Hope p12 » Godless p13

» The Nothing Factory p13 » 12 Days p14 » Amant Double p14

» West Of The Jordan River p15 » Gabriel And The Mountain p15

The Nothing Factory Reviewed by Jonathan Romney

Godless Reviewed by Jonathan Romney Ralitza Petrova’s debut feature — the 2016 winner of Locarno’s Golden Leopard — is a steely, compelling work that mixes harsh social realism with a powerful strain of laconic character sketch, while also sporting moody quasi-thriller inflections that evoke Georges Simenon or certain US exponents of small-town literary noir. Tightly coherent both in narrative and sombre visuals, which together create a claustrophobic evocation of a morally septic world, the film also features a minimalist, mesmerising lead turn from Irena Ivanova (winner of Locarno’s best actress award). The film will be a festival must and, while its austerity will hardly make it a strong commercial proposition, distributors committed to uncompromising new European drama will find it an intriguing prospect. A former student of the UK’s National Film and Television School, and the maker of acclaimed shorts including 2009’s By The Grace Of God, writer-director Petrova makes a confident, fearless transition to feature length in a story that suggestively but sparingly makes dramatic connections between damaged souls and a damaged nation. The film is set in a small, rundown Bulgarian town, where Gana (Ivanova), an almost silent young woman, works as a carer for elderly patients, most of them suffering from dementia. We soon discover she is stealing her patients’ ID cards and selling them to a gang that uses them for money laundering — leaving the elderly victims to be prosecuted for their crimes, not least because crooked associates are doing the prosecuting. Gana’s life is altogether joyless, both at work and at the violent apartment block where she lives with her mother. The one glimmer of hope comes in the form of Yoan (Nalbantov), a patient who conducts an amateur choir that sings religious songs. Gana is fascinated by Yoan’s faith and his determination not to fall victim to the gang. Indeed, while the film does contain a theological dimension — hinted at obliquely in a somewhat enigmatic and arguably slightly jarring coda — any redemption the film may finally offer is of a pointedly bitter variety. A thoughtful addition to the canon of films about Eastern Europe’s post-Communist malaise, Godless represents the debut of an uncompromising talent.

DEBUTS Bul-Den-Fr. 2016. 99mins Director/producer/ screenplay Ralitza Petrova Production companies Klas Film, Snowglobe, Alcatraz Films, Film Factory International sales Heretic Outreach, Cinematography Krum Rodriguez, Chayse Irvin Production design Vanina Geleva Editors Donka Ivanova, Ralitza Petrova Main cast Irena Ivanova, Ivan Nalbantov, Ventzislav Konstantinov, Alexandr Triffonov


An energetic ensemble piece from documentarist Pedro Pinho, making his fiction debut, The Nothing Factory echoes certain 1960s/’70s French screen examinations of labour issues (Godard’s Tout Va Bien being the most celebrated) but it is very much its own thing, intelligent and inventive if somewhat ragged round the edges. Theatrical prospects are slim, but serious-minded festivals and events will latch onto this picture as a stimulating discussion piece that could not be more of its moment. The film centres on a Lisbon elevator factory, whose owners sneakily remove the equipment to sell it off, while a soft-soaping management delegation comes to offer reassurance before piling on the veiled threats. Arguments break out among the staff, but the workers decide to stay put, eventually considering the option of running the factory themselves when management absconds entirely. Hovering on the sidelines is a mysterious man (played by Italian filmmaker Daniele Incalcaterra) who expresses an interest in the factory. He seems at once a social theorist, commenting in voiceover on the cracks in the capitalist system, and an activist affiliated to a pan-European group of left-wing thinkers. Incalcaterra’s presence as surrogate director introduces a Brechtian dimension into a film that is ostensibly in a familiar realist mould — its natural ensemble acting style closer to the sprawling tableau of Abdellatif Kechiche’s Couscous than to Ken Loach or the Dardenne brothers. Much of the action takes place at the factory, with detours into the home life of worker Zé (Jose Smith Vargas) and his partner Carla (Carla Galvao). The film gets more unpredictable as it goes along, and the wild-card moment comes when the workers burst into an impromptu song-and-dance number; the result isn’t quite Jacques Demy, but it brings an incongruous and welcome burst of ebullience. Even in its straighter stretches, The Nothing Factory skews away from by-the-book realism with some elegantly composed images. Smith Vargas and Galvao both show affecting toughness as the couple who bring the drama an accessible intimacy, but as an ensemble piece with something of a community-theatre feel (the film is partly inspired by a Dutch play), it boasts robustly natural acting all round.

Port. 2017. 177mins Director Pedro Pinho Production company Terratreme Filmes International sales Memento Films International, sales@ Producers Joao Matos, Susana Nobre, Leonor Noivo, Luisa Homem, Tiago Hespanha, Pedro Pinho, Joao Gusmao, Joana Bravo Screenplay Pedro Pinho, Leonor Noivo, Luisa Homem, Tiago Hespanha, from an original idea by Jorge Silva Melo, based on a play by Judith Herzberg Cinematography Vasco Viana Production design Luisa Homem Editors Claudia Oliveira, Edgar Feldman, Luisa Homem Music Jose Smith Vargas, Pedro Rodrigues Main cast Jose Smith Vargas, Carla Galvao, Njamy Sebastiao, Joaquim Bichana Martins, Daniele Incalcaterra, Herminio Amaro

July 13, 2017 Screen International at Jerusalem 13


Amant Double Reviewed by Allan Hunter

12 Days Reviewed by Lisa Nesselson Veteran documentarian Raymond Depardon manages to be both impartial and compassionate in 12 Days (12 Jours), a soberly filmed but emotionally gratifying introduction to an array of involuntary patients in a French psychiatric hospital. By law, as of September 2013, a hearing must be held before the titular timeframe expires whenever someone is committed without their consent. A solo judge specialised in personal freedom decides whether or not each hospitalisation should continue. In France, 92,000 people per year — about 250 a day — are placed in psychiatric wards without their permission. From this basic premise, Depardon and faithful collaborator of three decades Claudine Nougaret (he is on camera and directing tasks, she is on sound and producing) add a small but important contribution to the filmed annals of closely observed human behaviour. Depardon uses three stationary cameras in the barebones room where hearings are held. One is aimed at the patient, one at the judge and the third provides a wide shot of proceedings. Tellingly there is always an equal distance between the judge and the patient being interviewed. The 10 individuals shown were chosen from 72 filmed hearings conducted by four different judges — two men and two women — in November and December 2016. Some patients agree they absolutely belong where they are, while others beg to differ. Each lone judge who makes a decision seems efficient and qualified. Whatever the patient says, they are clearly being listened to. We come to understand the judges have seen and heard it all before and the patients’ lawyers are invested in putting a positive spin on sometimes heartbreaking circumstances. One woman, an orphan who has been institutionalised more than half her life, wants to be released so she can kill herself in peace. A 40-year-old man who has served prison time appears fairly reasonable at first until the full magnitude of his delusions emerges. An immigrant from Angola who stabbed a woman eight years prior thinks it is high time they let him out. Between interviews, Depardon shows us the colourcoded corridors of the facility where patients shuffle along. The camera slowly approaches a door behind which a woman’s voice describes awful visions in frantic tones. Yet there is also genuine and inadvertent humour in the midst of sadness and administrative formalities.

14 Screen International at Jerusalem July 13, 2017

MASTERS Fr. 2017. 87mins Director Raymond Depardon Production companies Palmeraie et Desert, France 2 Cinema, Auvergne-Rhone-Alpes Cinema International sales Wild Bunch, sales@ Producer Claudine Nougaret Cinematography Raymond Depardon, Simon Roche Editor Simon Jacquet Music Alexandre Desplat

It takes two to tangle in Amant Double (The Double Lover), a convoluted, deliriously overcooked psychosexual melodrama that is hard to take seriously. A startling volte face from the delicate mysteries of Ozon’s last film, the period drama Frantz, this dives enthusiastically into territory defined by a combination of Alfred Hitchcock, Paul Verhoeven and Mel Brooks. There are enough lurid trysts and dodgy sexual politics to titillate, outrage and intrigue a substantial audience although serious-minded critics may be less forgiving. Adapted from the pseudonymous Joyce Carol Oates novel Lives Of The Twins, Amant Double is a film enthralled with notions of terrible twins, double trouble, split screens and mirror visions. The first images are of a woman, Chloe (Marine Vacth), transformed by a brutal haircut that strips away flowing locks to reveal her to the world. All razor-sharp cheekbones and jagged angles, 25-year-old Chloe is a former model who has been long troubled by stomach pains that may be psychosomatic. She decides to consult psychiatrist Paul (Jérémie Renier). Confessing her insecurities and fears, she starts flattering his ego and trying to seduce him. Once Chloe becomes an ex-patient, they embark on a romance and decide to live together. She eventually discovers Paul has a twin brother, Louis (also Renier), who is also a psychiatrist. She consults Louis and finds he has a very different, more hands-on approach to her problems. Revealing any more of the labyrinthine story would only spoil whatever fun there is in watching it unfold. Amant Double is certainly stylish, serving up striking images and copious amounts of vigorous sex as it eventually wades into Fifty Shades Of Grey territory. It often seems designed to shock, with a ridiculous, misogynistic feel like a daring coffee-table magazine spread from the naughty 1990s that has somehow re-emerged in the 21st century. The cast give it their all, with the pale, waif-like Vacth never seeming to blink as the troubled Chloe. Renier offers a slight contrast in the two brothers; Paul is safe and comfy in beige and a little boring while Louis has the arrogance of someone who likes to dominate. There is also a welcome appearance from Jacqueline Bisset, who squeezes all the juice from her brief role as a concerned, protective mother.

INTERNATIONAL COMPETITION Fr. 2017. 107mins Director/screenplay Francois Ozon Production companies Mandarin Production, Foz, Mars Films, Films Distribution, France 2 Cinema, Scope Pictures International sales Films Distribution, info@ Producers Eric Altmayer, Nicolas Altmayer Cinematography Manu Dacosse Production design Sylvie Olivé Editor Laure Gardette Music Philippe Rombi Main cast Marine Vacth, Jérémie Renier, Jacqueline Bisset, Myriam Boyer

Gabriel And The Mountain Reviewed by Sarah Ward

West Of The Jordan River Reviewed by Nikki Baughan Thirty-five years after Field Diary, in which he documented life in the Gaza Strip and the West Bank ahead of the 1982 Lebanon War, Israeli director Amos Gitai returns to discover how life has moved on — or not. As he talks to Israelis and Palestinians on both side of the ideological and religious divide, so emerges a compelling snapshot of a region desperate for change, but in danger of being suffocated by political inertia. Gitai’s personal knowledge of his people and their deep-rooted issues brings a powerful intimacy. His own prolific career, together with the film’s social conscience and resonant message of grassroots activism, should help it find an appreciative audience on the festival circuit, and perhaps beyond if it lands with a focused distributor. Context is provided by the opening footage, shot by Gitai in 1994 after he returned to Israel following the election of progressive president Yitzhak Rabin (the director had left the country after the controversial reaction to Field Diary). Cacophonous shots of border checkpoints and Palestinians angry to the point of action show that tensions were reaching breaking point. It seemed that Rabin might hold the answers, as he brokered peace deals with the Palestinian leadership, but his assassination in 1995 ushered in another two-decades-andcounting period of tumultuous uncertainty. That politicians, leaders and commentators on both sides disagree about how to resolve the situation is highlighted by a series of often-heated talking-head interviews. Gitai also drops in on not-for-profit organisations such as Breaking the Silence, which encourages Israeli soldiers to talk about the realities of life in the occupied territories. Most powerful, however, is a sequence in which Gitai visits B’Tselem, the Israeli Information Centre for Human Rights in the Occupied Territories, which aims to draw attention to human-rights violations by Israeli soldiers. As a room of women discuss filming such incidents with their mobile phones, there is a sense that, in this small action, they are taking back control. And, while the bookending of Gitai’s 1994 interview with Rabin and the penultimate shot of a carousel in motion speaks to opportunities lost and the vicious circle of government inaction, the raucous closing moments spent in a community backgammon game packed with Israelis and Palestinians chimes with hopeful possibility.

ISRAELI DOCUMENTARY COMPETITION Fr-Isr. 2017. 90mins Director/screenplay Amos Gitai Production companies Nilaya Productions, Agav Films, France Televisions International sales Doc&Films International, Executive producer Patricia Boutinard Rouelle Cinematography Oded Kirma, Eitan Hai, Vladimir Truchovski Editors Tai Zana, Vincent Schmitt, Yuval Orr Music Amit Poznansky


Gabriel And The Mountain turns death into a rumination on the actions and ideas that resound in life. Based on the plight of Brazilian backpacker Gabriel Buchmann, Fellipe Gamarano Barbosa’s follow-up to 2014’s Casa Grande offers a moving meditation on the transformative nature of travel, both on those hopping around the world in search of a new perspective and those encountered along the way. Never taking the familiar traveloguedrama path, this involving effort makes Jerusalem another stop on what is likely to be a lengthy journey on the festival circuit. In 2009, before he was due to start his doctorate in public policy in the US, Buchmann disappeared while climbing Malawi’s Mount Mulanje. Roaming through Africa and scaling its peaks on the last leg of a year-long global trek, he was determined to research poverty experientially. Far away from his comfortable Rio de Janeiro upbringing, he lived cheaply, explored widely and endeavoured to give away 80% of his daily budget to those in need. Distinguishing Gabriel And The Mountain from other fictionalised accounts of traumatic adventures such as Into The Wild and 127 Hours, Barbosa brings together both actors and the actual Kenyan, Tanzanian, Zambian and Malawian residents Buchmann encountered: tribesmen, hiking guides, safari operators and bus drivers among them. Each recreates their time with Buchmann (Joao Pedro Zappa), with their affectionate reflections about his passing overlaid on pivotal scenes. Although it does not purport to be a documentary, the film approaches its narrative with an added, inescapably emotional air of authenticity. Crisp cinematography by Pedro Sotero easily achieves the same effect; after lensing Kleber Mendonca Filho’s Neighboring Sounds and Aquarius, he fills this feature’s frames with scenic yet contemplative sights well off the beaten track. With snippets of voiceover relaying the extent of Buchmann’s influence, Zappa’s naturalistic performance infuses him with openness above all else, whether he is being welcomed into the world of the Maasai or sightseeing with a girlfriend when she visits briefly. That his eagerness often drifts from well-meaning-but-naive to arrogant-yet-passionate also helps the film serve as a shrewd, lightly comic skewering of traveller stereotypes.

Bra-Fr. 2017. 127mins Director Fellipe Gamarano Barbosa Production companies TV Zero, Damned Films International sales Films Boutique, valeska@ Producers Rodrigo Letier, Roberto Berliner, Clara Linhart, Yohann Cornu Screenplay Fellipe Gamarano Barbosa, Lucas Paraizo, Kirill Mikhanovsky Cinematography Pedro Sotero Editor Théo Lichtenberger Music Arthur Bartlett Gillette Production design Ana Paula Cardoso Main cast Joao Pedro Zappa, Caroline Abras, Alex Alembe, Leonard Siampala, John Goodluck, Rashidi Athuman, Rhosinah Sekeleti, Luke Mpata, Lewis Gadson

July 13, 2017 Screen International at Jerusalem 15

SCREENINGS Edited by Paul Lindsell

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


(Austria, India, Norway, US) Sixpack film. 126mins. Dir: Michael Palm. German (English and Hebrew subtitles). A fascinating documentary on the future of cinema as celluloid reels disappear and digital formats multiply, combining archival footage and interviews with filmmakers, including Martin Scorsese and Christopher Nolan. Cinemania Cinematheque 2


(Bulgaria, Denmark, France) Heretic Outreach. 99mins. Dir: Ralitza Petrova. Bulgarian (English and Hebrew subtitles). In a Bulgarian village, a nurse steals ID cards from her demented patients to sell on the black market. While her relationships are no source of comfort, a new patient touches her distorted conscience. Debuts Cinematheque 2


(Finland, Germany) The Match Factory. 100mins. Dir: Aki Kaurismaki. Finnish, English, Arabic, Swedish (English and Hebrew subtitles). In contemporary Finland, a chance meeting between a salesman and a Syrian refugee provides them with abundant hope. Spirit of Freedom Cinematheque 3


(Germany, Israel) Filmgalerie 451. 92mins. Dir: Heinz Emigholz. English (Hebrew subtitles). Artist Heinz Emigholz offers a captivating view of 22 buildings designed by legendary kibbutz architect Shmuel Bickels.


(Portugal, France, Brazil) Films Boutique. 117mins. Dir: Joao Pedro Rodrigues. Portuguese, English, Mandarin, Mirandese, Latin (English and Hebrew subtitles).

In his distinctive style — unnarrated, static shots of the structures — Emigholz manages to capture Bickels’ spirit. Intersections Cinematheque 2


(France) Wild Bunch. 107mins. Dir: Michel Hazanavicius. French, English (English and Hebrew subtitles). The love story between Jean-Luc Godard and actress Anne Wiazemsky against the backdrop of the events of May 1968. Opening Film Sultan’s Pool


(Portugal) Memento Films. 177mins. Dir: Pedro Pinho. Portuguese (English and

16 Screen International at Jerusalem July 13, 2017

icon, to his final days. An ornithologist’s boat is swept away by currents. Rescued by two Chinese pilgrims, he’s driven in to the forest where mysterious encounters force him to take extreme action. Masters Cinematheque 2

Hebrew subtitles). Discovering their factory’s equipment has been smuggled out by management, workers fear the worst and fight for their future. Spirit of Freedom Cinematheque 3

21:30 THE ORNITHOLOGIST See box, above


(France) 85mins. Dir: Mark Kidel. English (Hebrew subtitles). Drawing upon a hidden autobiography and rare footage, this fascinating film tells Cary Grant’s life story from his lonely childhood in Britain, through becoming a film

Cinemania Cinematheque 1

10:30 SUMMER 1993

(Spain) New Europe Film Sales. 96mins. Dir: Carla Simon. Catalan (English and Hebrew subtitles). After her parents’ death, six-year-old Frida spends the summer at her aunt and uncle’s home in rural Catalonia, where she finds it hard to cope with her loss and adapt to a new life. Debuts Cinematheque 3

10:45 LUMIERE!

(France) Wild Bunch. 90mins. Dir: Thierry Fremaux. French (English and Hebrew subtitles). A collection of restored prints from the Lumiere Brothers. Cinemania Cinematheque 2

11:00 NEWTON

(India) Pascale Ramonda. 106mins. Dir: Amit V Masurkar. Hindi (English and Hebrew subtitles). A rookie civil servant

stationed in the jungle during elections in India, faces both guerrilla forces and the locals’ apathy toward the democratic process. Spirit of Freedom Lev Smadar


(Israel, France) Doc&Film. 84mins. Dir: Amos Gitai. Hebrew, Arabic (English subtitles). Amos Gitai returns to the Occupied Territories for the first time since his 1982 documentary ‘Field Diary’. ‘West Of The Jordan River’ describes the efforts of citizens, Israelis and Palestinians, who are trying to overcome the consequences of the Occupation. Israeli Documentary Competition Cinematheque 1


(Finland, Germany) Match Factory. 100mins. Dir: Aki Kaurismaki. Finnish, English, Arabic, Swedish (English and Hebrew subtitles). Spirit of Freedom Cinematheque 3

13:00 12 DAYS

(France) Wild Bunch. 87mins. Dir: Raymond Depardon. French (English and Hebrew subtitles). Legendary documentarist Raymond Depardon follows psychiatric patients who, 12 days after being admitted without their consent, are brought before a judge who will determine if they are eligible for discharge. Masters Cinematheque 2

MENASHE See box, right


(Kyrgyzstan, France, Germany, Netherlands) Match Factory. 89mins. Dir: Aktan Arym Kubat. Kirghiz (English and Hebrew subtitles). The life of a humble family man from a remote village in Kyrgyzstan is turned upside down when he is caught stealing a horse. A unique and sensitive film inspired by Kirghiz mythology. Panorama Lev Smadar



(France) Wild Bunch. 107mins. Dir: Michel Hazanavicius. French, English (English and Hebrew subtitles). Opening Film Cinematheque 1


(US) Sony. 100mins. Dir: Dave McCary. English (Hebrew subtitles). After 25 years of isolation, James meets his biological family and decides to produce a film based on the TV show of his childhood. Gala Yes Planet


(US) Dogwoof. 90mins. Dir: Matthew Heineman. English (Hebrew subtitles). An award-winning documentary that follows a group of Syrian men who risk their lives to expose the atrocities inflicted by ISIS in the city Raqqa. Against the

FRIDAY JULY 14 constant threat of death, they promise to fight till the bitter end. Spirit of Freedom Cinematheque 2


(Israel) 70mins. Dir: Rana Abu Fraiha. Hebrew, Arabic

(Arabic and Hebrew subtitles). My mother’s last wish was to be buried as a Muslim in Omer, our Jewish hometown, where she lived for 20 years. I accompany my mother on her last journey, that forces the entire family to

deal with dilemmas and loss. Israeli Documentary Competition Cinematheque 3


(Mexico, Netherlands) Mundial. 103mins. Dir: Ernesto Contreras. Spanish, English (English and Hebrew subtitles). Martín, a young linguist, hopes to preserve an endangered ancient dialect. He travels to the jungle to locate two surviving speakers who have not spoken to each other for 50 years. Panorama Lev Smadar



(US) Mongrel. 82mins. Dir: Joshua Z Weinstein. Yiddish (English and Hebrew subtitles). Menashe, a widowed ultraOrthodox Jew from Brooklyn, fights

for custody of his son. The rabbi gives him a week to prove he’s worthy. A touching drama that explores the nature of faith and the cost of parenthood. Debuts Yes Planet


(US) Universal Pictures. 94mins. Dir: Sofia Coppola. English (Hebrew subtitles). During the American


(France, Italy) Rene Chateau. 101mins. Dir: Jean-Pierre Melville. French (Hebrew subtitles). A cold-hearted hit man finds himself in an ongoing nightmare with the gangsters who hired him and the police on his tail. Melville Retrospective Cinematheque 3




(Israel) 83mins. Dir: Amos Gitai. Hebrew (English subtitles). Amos Gitai documents the IDF’s actions in the Occupied Territories before and during the invasion of Lebanon. Gitai’s camera is not an objective eye but, rather, a subversive means of expression on the Occupation.

(Hungary) Magyar Filmunio. 91mins. Dir: Ferenc Torok. Hungarian (English and Hebrew subtitles). A Hungarian village in August 1945: the festive ambience of the clerk’s daughter’s wedding is tainted when two Orthodox Jews arrive carrying a mysterious trunk. Have they come to claim their lawful inheritance?

Israeli Special Screenings Cinematheque 2

Civil War, a wounded Yankee soldier finds refuge in a girls’ boarding school, and stirs up a whirlwind of desires. International Competition Cinematheque 1

International Competition Yes Planet

THE BEGUILED See box, above


(Spain, Morocco, France, Romania, Qatar) Luxbox. 96mins. Dir: Oliver Laxe. Arabic (English and Hebrew subtitles). A caravan carries a dying sheik who wishes to be buried beside his loved ones in Morocco’s High Atlas Mountains. After his death, two crooks promise to complete the mission. Panorama Lev Smadar


(Germany, Bulgaria, Austria) Films Boutique. 119mins. Dir: Valeska Grisebach. German, Bulgarian (English and » Hebrew subtitles).

July 13, 2017 Screen International at Jerusalem 17



22:00 WIND RIVER See box, below


(France) Films Distribution. 113mins. Dir: Laurent Cantet. French (English and Hebrew subtitles). A realistic drama surrounding the conflict between a seasoned crime novel author and a participant in a writing workshop she’s instructing. Masters Lev Smadar



(France) Luxbox. 115mins. Dir: Bruno Dumont. French (English and Hebrew subtitles). Inspired by Charles

German construction workers are sent to an isolated Belgian village. A fascinating portrait of masculinity, Western culture and its attitude towards other cultures. International Competition Cinematheque 2

19:30 78/52

(US) Dogwoof. 91mins. Dir: Alexandre Philippe. English (Hebrew subtitles). It took Hitchcock 78 set-ups and 52 cuts to create the shower scene in ‘Psycho’. Sixty years later, director Alexandre Philippe examines the scene that redefined the power of the cinematic experience. Cinemania Yes Planet


(US) Fox Searchlight. 108mins. Dir: Geremy Jasper. English

Peguy’s play, creative giant Bruno Dumont (Slack Bay) renders the childhood of Jeanne d’Arc — the French military leader turned saint — in an unconventional and daring musical comedy. Masters Cinematheque 2

(Hebrew subtitles). Patti Cake$, a white, overweight, charismatic and enormously talented rapper, dreams of escaping her tedious life in New Jersey. With the help of good friends and her grandmother, Patti sets out to conquer the rap scene.

The worlds of two women meet for a critical moment and are bound together inseparably. Israeli Feature Competition Cinematheque 1


(Brazil, France) Films Boutique. 127mins. Dir: Fellipe Gamarano Barbosa. English,


Portuguese, Swahili, Chichewa, French (English and Hebrew subtitles). A young Brazilian travelling the world arrives in Kenya determined to discover the Dark Continent and meets up with his girlfriend who also arrives from Brazil.

(France, Belgium) 107mins. Dir: Francois Ozon. French (English and Hebrew subtitles). A fragile young woman, falls in love with her psychoanalyst. She moves in with him but soon discovers that her lover is concealing a part of his identity.

International Competition Yes Planet

International Competition Cinematheque 1

Gala Lev Smadar


(France) Pyramide. 90mins. Dir: Hubert Charuel. French (English and Hebrew subtitles). The peaceful life of a young dairy farmer is shattered when an epidemic spreads to cowsheds throughout France. Debuts Cinematheque 3




(Israel) 77mins. Dir: Dana Goldberg, Efrat Mishori. Hebrew, Arabic (English subtitles).

18 Screen International at Jerusalem July 13, 2017


(US, UK, Canada) Voltage Pictures. 110mins. Dir: Taylor Sheridan. English (Hebrew subtitles).

An American hunter and FBI agent join forces to investigate a rape and murder that shocks a Native American reservation.

Jerusalem Cinematheque, 11 Hebron Road, 91083 Editorial Editor Matt Mueller, matt., +44 7880 526 547 Reporters Melanie Goodfellow, melanie.goodfellow@, +44 7460 470 434 Tom Grater, tom.grater@, +44 7436 096 420 Reviews editor and chief film critic Fionnuala Halligan, finn. Features editor Charles Gant, charles. Production editor Adam Richmond Sub editors Paul Lindsell, Richard Young Advertising Commercial director Scott Benfold, scott. International sales consultants Gunter Zerbich, gunter., +44 7540 100 254 Pierre-Louis Manes, pierre-louis.manes@ Ingrid Hammond, ingridhammond@mac. com VP business development, North America Nigel Daly, nigeldalymail@ Sales and business development executive, North America Nikki Tilmouth, nikki. screeninternational@ Production manager Jonathon Cooke, jonathon.cooke@, +44 7584 333 148 Marketing executive Charlotte Peers, charlotte.peers@mbi. london Chief executive, MBI Conor Dignam Published by Media Business Insight Ltd (MBI) Zetland House, 5-25 Scrutton Street, London, EC2A 4HJ United Kingdom Subscriptions help@subscribe.

Gala Cinematheque 3

Exclusive 30% discount for Jerusalem attendees Subscribe now for: ❯ Monthly editions ❯ Special awards season issues ❯ Exclusive subscriber supplements including World of Locations & Stars of Tomorrow ❯ Unlimited access to all the latest news and reviews ❯ 15 years of searchable archives

visit: Or call +44 (0) 330 333 9414 and quote code code JER17

Screen Jerusalem Day 1  
Screen Jerusalem Day 1