The Hangman

A war recreated for the filming of a movie leads to the fleeing of an entire village in the Golan Heights; weapons are planted in the home of a Palestinian family in East Jerusalem to stage an action scene; and a props and weapons man is revealed to be suffering from PTSD while dealing with moral trauma. The trilogy examines the ethical aspects of reenactment and how militarism's grip on Israeli society (also) corrupts cinema.

Anat, a single mother and a devoted literature primary school teacher, is impatiently waiting for her son’s discharge from the army. But exactly on the due date of his release, a soldier is kidnapped and a new war breaks out. The condition of her shell-shocked father, Ya'akov, starts to deteriorate as Ido calls to say that all discharges have been put on hold. The angst-ridden Anat tries to get him back home, appealing to the kindness of the commanding officers. Ido returns, but her spirit is broken when she discovers that discharges were not suspended - it was he who volunteered to fight. Their symbiotic relationship goes downhill, Ido returns to the border post and the battle flares up. Before his unit enters Lebanon, Anat, who feels trapped between her father and her son, decides to take matters into her own hands.