Sins We Have Sinned, Knowingly and in Falsehood

A Different point from the eyss of Yuval Shamshins's life, in the modern days of the Covid-19. The movie is built upon the small moments of life, full of Metaphors and Images in order to built a cinemathic perspective.

A day after her mother’s death, Naomi returns to her childhood home to search for the medical marijuana left behind.

Forced to guard his mother’s body alone in his childhood home, Yuval is strictly ordered to remain at the scene and wait for the burial society to evacuate the body. Trapped in this nightmarish vigil, he fights the silence by paying an escort to stay on the phone, weaving a fantasy life to escape the grim reality of mechanically tending to the corpse. When dawn breaks and the body is finally taken away, the distraction fades, leaving Yuval alone to face the absolute finality of his loss.

Yoel, a 67-year-old man, discovers his car is missing from the parking lot. Convinced it was stolen for personal reasons, he embarks on a nocturnal revenge mission that quickly spirals out of control. His son, Ori, gets dragged along, desperately trying to stop him—or perhaps to see just how far his father is willing to go.