Israeli Film Festival returns with online screenings
Following the success of its previous four editions, the Israeli Film Festival returns with five documentary films that explore vital themes in the country’s society and culture.
The films will be streamed online on the Israeli Embassy’s Facebook page with Greek subtitles, starting this Thursday.
Each film will be available for 10 days, for the first 1,000 viewers.
A few words about the movies:
“Before My Feet Touch the Ground”: Summer 2011: 25-year-old Daphni Leef moves into a tent in the centre of Tel Aviv to protest the cost of housing. Within a few days she becomes a leader and a face for the largest protest movement in the history of Israel. The film depicts the challenges a person at the forefront of a struggle must face and what happens to the soul when we become an image.
“The Sign for Love”: When El-Ad was a child, his mother told him: “Raising you is like raising three kids.” Ever since that moment, he felt guilty for being deaf, and tried extra hard to be like everyone else. He became even more alienated after the tragic death of his mother and the breakdown of his family. El-Ad later started a family of his own, becoming a father through a shared parenting arrangement with his friend Yaeli, who’s also deaf, surrounded by their deaf friends. The film is his first-person account of the life he created for himself, and his attempt to show viewers his version of family and parenthood.
“Shai K.”: The untold story of Shaike Ophir, one of the greatest Israeli actors of all time. Known as the “Israeli Charlie Chaplin”, Ophir worked with Alfred Hitchcock and Marcel Marceau, and became a mega star in Israel. Shai K. is the tale of a tragicomic clown, a man who wanted more than anything to make people laugh and to be loved. For this, he paid a heavy personal price. The film recounts Shaike’s extraordinary story through the women in his life and the people who worked with him, interwoven with rare archival footage, all coming together to create a fascinating personal and psychological portrait of the man who became an icon.
“Café Nagler”: During the 1920s, Café Nagler was the hottest place in Berlin. The Israeli director embarks on a journey to find out what’s left of the legendary café owned by her family. After discovering that family myths don’t always match historical facts, she’ll re-create her family’s past together with her Berlin peers.
“Women in Sink”: In a little hair salon owned by a Christian-Arab in Haifa, Israel, the director installs a camera over the washing-basin where she chats with the clients she is shampooing. She paints an unexpected choral portrait of this space that provides a temporary freedom in which Arab and Jewish women share their differences and a community of views on politics, history and love.
