Yael Aviv

In 1976, four hijackers take over an Air France airplane en route from Tel Aviv to Paris and force it to land in Entebbe, Uganda. With 248 passengers on board, one of the most daring rescue missions ever is set in motion.

A drama centered on an orphaned Palestinian girl growing up in the wake of the first Arab-Israeli war who finds herself drawn into the conflict.

A Canadian doctor finds her sympathies sorely tested while working in the conflict ravaged Palestinian territories.

Jacquo, a shady owner of a Las Vegas nightclub in Lower Haifa, also runs a brothel and gambling den. His business thrives with an entourage of women, but his heart belongs to Galia, his business partner and top call girl. One night, Galia is severely injured in a fight with another worker. Her middle-class sister Yael rushes to her side, adding to the drama.

A middle-aged Orthodox Jew, Aaron, living and working in Jerusalem with his wife and children, meets a homeless 19-year-old student. Aaron offers to give Ezri work as his assistant at his family's butcher shop. The two men grow close and their attraction becomes sexual. Aaron must now confront his own sexuality, his feelings for Ezri, and his obligations to his family and faith.

A Quebec architect, working in Israel, visits a psychoanalyst to learn why he has an insatiable libido.

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.

Robert Hirsch impresses as he takes on 11 different roles in Alex Joffé's comedy about the six sons of a recently deceased Jewish Casanova. To receive their inheritance, the sons must convene in Israel and recite a Kaddish (memorial prayer) for their dad. But planning the gathering is no easy feat. The film's title is based on the nonobservant son's futile attempts to contact his siblings on the one day when working is forbidden by Jewish law.