Wednesday, May 31, 21:00
Waiting for Kvodo
a film by Lilach Gavish
Non-profit art gallery in Jerusalem
Wednesday, May 31, 21:00
Waiting for Kvodo
a film by Lilach Gavish
Sunday MAY 28, 20:00
Poets Read Jerusalem – a Tribute – a poetry evening with the participation of poets who live and work in Jerusalem within the framework of the group exhibition “Downtown Jerusalem”
Curator of the evening: Michal Govrin
Thursday, May 25, 21:00
a film by Shachar Cohen and Chalil Efrat
Shahar is an unemployed filmmaker. His father, Sleiman, suggests that Shahar should make a film about the Jewish Brigade, in which he served during WWII. Shahar becomes enthusiastic when he realizes that his father may have left some “souvenirs”, by having impregnated two Dutch women. He decides to make the film hoping to find his father’s lost off- springs.
They set out together in the trail of the Jewish Brigade, beginning in Israel, through Italy, Germany and ending in Holland with a surprising discovery.
“The sickness spread everywhere. No longer were there individual destinies;
only a collective destiny, made of plague and the emotions shared by all.”
Albert Camus The Plague
Last Sunday, 14.05.2006, The Supreme Court of Israel issued a 6-5 decision upholding the legality the Citizenship and Entry into Israel Law, which limits the rights of Palestinians to live in Israel.
The law, passed by the Knesset in 2003, allows only Palestinian women 25 years or older and men 35 years or older to join their families in Israel and eventually be eligible for full citizenship. In its opinion, the majority held that the law does not infringe upon the constitutional rights of Israelis, and if it does, that harm is “measured.” The court’s minority wrote that the law violates the Basic Law on Human Dignity and Liberty by infringing on the right to family life.
For better understanding of the supreme court’s decision and the future implications of it, we would like to suggest a series of lectures, screenings and meetings with lawyers and organisations dealing with relevant issues.
In doing so we hope to create an open and critical debate in which different voices are being heard allowing us to rethink and reconstruct our place as humans living in Israel-Palestine.
We started by screening Ayelet Bechar’s movie, Just Married, and continued with a discussion with the director, the participants of the movie and the lawyers Yael Berda and Mokhlis Abu Elhof.
For more information on the subject:
Thursday, May 18, 20:00
a film by Ayelet Bechar
‘Just Married’ is the story of two Palestinian couples who decided to marry knowing that it would be impossible for them to live together in Israel. For Kifah, the new law is a slap in the face. She is an educated career woman who is politically active and believes in coexistence and the peace process. She goes to live in Berlin with her Gaza-born spouse Yazed. Suhad, a 23-year-old student from Bethlehem, is engagrd to Rabee, who has an Israeli ID. After the wedding , she becomes an illegal resident in her new home Jerusalem. In order to visit her parents, she must sneak through the gaps in the concrete wall that is gradually rising around her. When she becomes pregnant, her journey is increasingly complicated.
After the screening there will be an open discussion
with the director Ayelet Bechar and people featured in the film,
together with the lawyers Lea Zemel, Mokhlis Abu El’hof and Yael Berda
On Friday, May 12 there was the opening of the second part of the exhibition “Downtown Jerusalem” – the group show of Jerusalem-based artists working at the Jerusalem Artists Studios in Talpiot. The first part of the exhibition was opened a week ago, on May 5, in the “Yellow Submarine” club.
Artists participating in the show:
Amnon Ben Ami,
Asaff Ben Zvi,
Ariane Litman Cohen,
Ronen Siman Tov,
Maya Mochevski Parnas,
Curator: Yonatan Amir.
The opening event in Barbur was accompanied by the fair of comics and independent music labels.
Thursday, May 11th, 20:30
Meeting with the film director Avi Mograbi and screening of his film
How I Learned to Overcome My Fear and Love Arik Sharon (1997)
With the 1996 election campaign approaching, director Avi Mograbi set out to make a film about Arik Sharon. To the filmmaker’s surprise, he finds Sharon extremely likable. In the course of the campaign, Mograbi sets aside his leftist political beliefs and gets surprisingly close to Sharon.
This ironic fictitious documentary tells the story of the film’s making, which turns into a domestic melodrama threaded with nightmares about Sharon and arguments with his wife. The real story is of the impossible close encounter between left and right in present-day Israel.
Thursday, May 4th, 20:30
Video Installation by Dani Gal
Avner Kauffmann’s Déjà Vu
Simultaneous screening of two films:
“Munich” by Steven Spielberg and “Sword of Gideon” by Michael Anderson
In his new film “Munich”, which was screened recently in cinemas all over the country, Steven Spielberg deals with one of the delicate issues in Israeli history – the terrorist attack during Olympic Games in Munich, 1972, in which eleven Israeli sportsmen were killed by members of terrorist group “Black September”.
The story of the movie revolves around the character of Avner Kaufmann, an Israeli military officer who is personally recruited to the mossad by then Prime Minister Golda Meir to lead the spy team who will avenge the terror attack and will kill the terrorist involved in the attack.
Twenty years ago, HBO produced a television movie about the same historical events.
The thriller film, “Sword of Gideon,” also focuses on an Israeli agent named Avner who faces a similar crisis of conscience as Spielberg’s Avner and is wracked by guilt after helping assassinate Palestinians believed to be behind the Munich slayings.
Both movies are based on the same 1984 book, “Vengeance: The True Story of an Israeli Counter-Terrorist Team” by Canadian author George Jonas. But there are some scenes in the new movie that are staged very similarly to those in the older one. For example, in recreating the bloody last moments of the Munich crisis, when Palestinians fire on Israeli Olympians held captive in a helicopter, both movies use the same camera angle — from the perspective of the hostages. And both “Sword” and “Munich” feature a noteworthy scene that doesn’t appear in the book: a shot of a pensive Avner picking up the tobacco pipe of a fallen team member in a London hotel room.
Remaking movies and directors ripping each other off is not a new phenomenon in the movie industry. Munich’s case, though, is more interesting because of Spielberg’s attempt to show his take on world terror and his original position as a Zionist Jew while, actually, making a movie that had already been done and denying even seeing it.
Through the parallel screening, a situation occurs where cinematographic mechanisms become transparent and new connections emerge. For example, some scenes in one movie function as a cinematic visualization of a dialogue in the other.
What becomes interesting are the subtle readings that arise when the two films are screened together, namely, Spielberg’s kitchified simulacra take on the representation of terror. This results in a kind of “déjà vu” that underlines society’s tendency to emotionally frame ideas of terror and justice.