Hospitalized in a ward, a father (Yossi Yadin) pleads with his son to be allowed to return home at least once for a shower. The elderly man’s anxiety in the face of loneliness and death fades and the unresolved conflicts of his family disappear for a few moments of grace as his son bathes him in the shower.

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This movie is the first fiction feature film directed by Perlov. A visually beautiful burlesque fantasy about a fountain-of-youth pill and its effects on Getz, a down-and-out Tel Aviv night-club singer. After taking this much sought after pill, Getz becomes the epitome of youthful energy, and therefore a teen idol, a symbol of beauty and youth, up to the cathartic ending of the movie.

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Two brothers, both in their early 70s, hold a long life grudge against each other. They can be compared in so many ways, yet they cannot manage to keep a brotherly relationship, due to childhood traumas. Ehud, the eldest, can be called a ‘homeless millionaire’, whereas Zamir, the youngest, can be known as a ‘comfortably bitter man.’ They live on two separate sides of the world, one in Israel, and the other in America. One is divorced, the other is married. It’s known that blood is thicker than water; unfortunately not in this case.

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Seventy-eight-year-old Ze’ev Landsman gives in to family pressure and moves into a retirement home. After a botched escape attempt, he is forcefully returned to the home by his son and daughter-in-law. Although he is now closely watched, Ze’ev refuses to give up on his escape plans. Ze’ev grudgingly accepts the assistance of fellow resident Arye Freund, and the two form a strong bond of friendship as they plan the ultimate escape.

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Filmed at the Shaar Menashe Hospital in Israel, this heartbreaking film examines the plight of elderly Holocaust survivors whose war-time experiences have left them unable to find inner peace. Abandoned by their families, Iosefina, Hana and Fira – the three patients featured – have spent the last few decades in this hospital, and the film combines an account of their daily routines and lives with the painful journey faced by their respective daughters as they visit their mothers and try to bring them back to family life.

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On the eve of Yom Kippur, a young girl carelessly injures an elderly man on the street while riding her bicycle. This short film documents her struggle to atone for this event. 

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What is happening in the consciousness of a woman who wakes up on the morning of the last day of her life, at least she thinks so, and her family are able to accept it? Nechama (Rivka Michaeli) gets up in the morning with a premonition that she will die by the end of the day. To make sure her close family won’t miss seeing her for the last time, she asks her granddaughter Neta (Adi Gilat) who is interning in a psychiatric hospital, to arrive early for her usual bi-weekly visit. Neta is busy with a new patient (Nina Kotler), a suicidal woman who has aroused her concern. Nechama’s husband (Gdalya Besser) is aware to the psychiatric background of Nechama, so he accepts her fears as a symptom of deterioration or as a revenge for an earlier and still unforgiven crisis in their marriage. Neta has a difficult session with her suicidal patient who leaves in the middle of it; she is continuously bombarded with phone calls from her grandparents asking her to come and with her mind in turmoil she leaves the hospital. Nechama has gathered her family around her, longing for the consolation she hopes will come from their giving up their individual self-centered preoccupations and concentrating their love and attention on her.     

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At the age of eight she was already dancing at Moscow’s Bolsoi theatre. Since then she has performed on the world’s most prestigious stages.

In the course of a career spanning over half a century, Deborah Bertonoff achieved world fame not only as a dancer with unique style and personal statement, but also as an author and researcher of dance.

For her life’s work she won the prestigious Israel Prize. Today, aged 86, in the small room where her only son committed suicide just a meter away from her and her late husband, she deals for the first time in fourteen years with the stacks of paper, photographs and other paraphernalia that clutter the room. Another life cycle that must reach closure before her last performance.

A summation? A farewell? Not at all. Just the desire not to be pathetic. Just not to fall.

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