备注:已完结
类型:剧情片
主演:吉拉·阿尔玛戈 Gila Almagor 艾利·柯恩 Eli Cohe
语言:希伯来语
年代:未知
简介:影片根据吉拉·阿尔玛戈原著的小说《阿维娅的夏天》改编,真实而生动地展现了以色列的生活。影片朴实、丰富、优美,反映了犹太大屠杀的主题。 1951年的夏天,寄宿学校的学生阿维娅的母亲把她带回家过暑假。阿维娅的父亲死于犹太大屠杀,母亲因为在集中营受到刺激,一直患有精神病。由于母亲长期住院,阿维娅很少能见到母亲。在与母亲共同度过的这个夏天,阿维娅悲喜交加。悲的是自己染上虱子被剃秃而母亲因为患病被邻居们唾弃,喜的是能与母亲共同生活,享受天伦之乐。阿维娅对从未谋面的父亲有着美好的憧憬。她相信,自己的父亲没有死,而是活在另外的地方。新搬来的邻居甘茨先生与母亲十分友善,阿维娅以为甘茨先生就是自己的父亲。阿维娅相信,幸福的未来在等待着她,可是现实是残酷的……
备注:已完结
类型:欧美剧
主演:托默·卡蓬 妮内特·塔伊布 迈克尔·阿洛尼 Nadav Netz Mo
语言:希伯来语
年代:未知
简介:Four friends, 11 years after a major falling out, reunite on a final mission:to find Yaeli, the former lover of one man and sister of another. Can they triumph over and find the strength required to lay past demons to rest? Set deep in the Colombian jungle this is a story of fighting for life as well as overcoming personal demons to find peace. Featuring breath-taking action, this dramatic thriller is inspired by a best-selling novel.
备注:已完结
类型:剧情片
语言:希伯来语
年代:未知
简介:The issue of War widow representation in Israeli cinema is one of the most complex for the local industry for it seems to be unique and with a very local and specific iconography. The war Widow is a difficult character to digest. Because this is an especially painful topic in Israel, its mode of representation is almost always problematic. Gila Almagor in Tofano's "siege" is one of the first characters of the "modern" war widows to appear on Israeli cinema screens. The human and social complexity of the status of widows was not represented adequately and personally until her complex and fine appearance in this film. It was mostly Preceded by cliches of heroic women who have sacrificed for the nation with characters to which it was very difficult to get attached, nor to their personal grief. "Siege" was directed by an unknown Italian director of that period. Although Gilberto Tofano was brought as a professional director on the wings of inspiration made by the French New Wave of those years, he managed to turn out a very exciting work which has caught the Israeli warmth and sense of social siege which surrounds the Israeli widows, including the great expectations from them and the social stigmas. Tofano wrapped his leading lady with lots of warmth and gave a place of honor to Almagor's impressive presence in the film. This is without a doubt one of Almagor's best and most accurate performances. The restraint in her performance plus the shooting and expressive use of angles by Tofano and his soft European touch which was far off from the aggressive local product managed to produce a sense of documenting an authentic tragedy with a tangible personal touch that minimized the national dimension. The result stands the test of time proudly several decades after its creation.
备注:已完结
类型:剧情片
语言:希伯来语
年代:未知
简介:一个关于中国和以色列的故事。 At thirty-seven, Miri is a twice-widowed, El Al flight attendant. Her well-regulated existence is suddenly turned upside down by an abandoned Chinese boy whose migrant-worker mother has been summarily deported from Israel. The film is a touching comic-drama in which two human beings -- as different from each other as Tel Aviv is from Beijing -- accompany each other on a remarkable journey, one that takes them both back to a meaningful life.
备注:已完结
类型:纪录片
语言:希伯来语
年代:未知
简介:《世界總理 國王畢比》是第一部以納坦雅胡為對象的紀錄片,關於他的崛起之路,與美國和川普總統的深厚關係,以及他對自身形象和媒體的偏執癡迷,而這很有可能會是他最終垮台的原因。 1月9日,《世界總理 國王畢比》(King Bibi)成為Yes Docu上收視率最高的紀錄片。 自從2018年7月在耶路撒冷電影節上首映以來,《世界總理 國王畢比》已經成為年度最受爭議的作品。紀錄片拍攝以色列這位最具爭議性人物別出心裁的手法,引發該國政治光譜兩端的人馬紛紛現身評論。 這部影片引起以色列各大媒體(黃金時段電視節目、廣播、平面和數字媒體)的關注,甚至連納坦雅胡總理本人也都提到了這部紀錄片。 隨著4月9日以色列大選的腳步接近,針對納坦雅胡的刑事調查也如火如荼,有人說《畢比國王》極有可能會左右大選結果。凡是想要了解以色列和它過去二十年來的領導人,本片是一部不容錯過的作品。 唐納·川普令人大開眼界的前二十年,班傑明·納坦雅胡已經深知與媒體維繫毒性關係,同時與公眾直接溝通所帶來的政治利益。 《世界總理 國王畢比》完全仰賴納坦雅胡多年來面對媒體的檔案影片,探索他的崛起之路:從他早年深受美國電視台歡迎的客座專家身份,到公開自己的不倫戀情,以及他對社群媒體藝術的嫻熟專精。 在穿梭各大攝影棚的過程中,「畢比」從以色列高人氣的政治希望,脫胎成為一名飽受爭議的人物。有些人視他為以色列的救世主;有些則而認為他是一個機關算盡,不惜一切代價來鞏固權力的政客。 ══國際媒體評論══ 「對以色列總理班傑明·納坦雅胡在媒體上脫胎換骨的過程,有著深刻的見解。」 《華盛頓郵報》 「畢比國王的稱號,加上導演丹·沙杜爾的巧妙引用,傳神呼應本片關於納坦雅胡對媒體偏執癡迷的觀點。」 《紐約時報》 ══以色列媒體評論══ 「這是一部耐人尋味的紀錄片,但說我通過巫術控制人民絕對是無稽之談。」 班傑明·納坦雅胡 「這部紀錄片探討了納坦雅胡與媒體的關係。」第12頻道新聞(以色列最受好評的新聞節目) 「根據他從觀看《畢比國王》中學到的東西,脫口說出十分鐘的獨白。」 Lior Schlein(以色列《每日秀》) 「看到這樣一部優雅的紀錄片處理我們這裡最炙手可熱的主題,真是令人震驚。絕對不容錯過……任何自認對納坦雅胡無所不知的人,都須要看《畢比國王》。」 《Timeout》 「……對以色列最富爭議人物一次極為公允和誠實的描述…… 大家真的必須看看《畢比國王》。」《國土報》 「震撼人心的體驗……,令人著迷且富有啟發性。」Walla(以色列最多人瀏覽的網站) 「深刻、迷人、令人不安」Mako(以色列最多人看的電視頻道)
备注:已完结
类型:剧情片
主演:Arik Lavie Shaike Ophir Avraham Hef
语言:希伯来语
年代:未知
简介:A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas' "Hallelujah the hills" (1962), it's an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics - parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch. A new immigrant, Tzelnik, arrives at the port of Jaffa. He goes to live in the Negev desert where he opens a kiosk in the middle of nowhere. Mizrachi comes along and opens a competing business across the way. The two make a living by selling to each other. As there is nothing there, they decide to create a world out of their imagination. They build a cardboard film set, which slowly takes on real dimensions- the buildings turn to concrete, people come to audition for parts in the "film" (cinema verité style, with Zohar mocking viciously the pretensions of the "actresses") and builders come to build appartment buildings (mocking the glorification of concrete and "heroic" settlement). In one sequence, Arab actors come and ask the filmmakers turn positive to negative, and they're given the role of pioneers who plow the land and sing zionist songs. The imagined world of the filmmakers becomes so real eventually they lose sight of the thin line between fantasy and reality. Along the way there are also many references to other films and genres: the samurai flicks of Kurosawa, westerns, the pop films by Richard lester, the meal scene from Tom Jones and many others. The film was made by a bunch of (very talented) friends Zohar gathered, and they shot it with their own funds, as a “collective flick”, another aspect of it that sets it apart from the rest of the production in the country.