Eight Twenty Eight Eight Twenty Eight

“A humoristic requiem of Kibbutz society, constructed with intelligence; a portrait teeming with love and acceptance, and marking the end of an era.” From the judges comments, Docaviv Festival 2007

“The film is the documenter’s poignant farewell to what was once his home.  The director’s resolution to almost never move the camera intelligently transforms the static cinematic frame into the aesthetic equivalent of the rigid framework of Kibbutz society.  The film is a kind of comic lament for a place gradually being abandoned; a film that is at the same time a self-portrait built solely upon the observation of the Kibbutz.” Shmulik Duvdevani, Ynet

“An excellent movie.  A nostalgic requiem for the Kibbutz and for the Israel of the past.  The personal nostalgia coalesces with a more general one, thus adding layers to the film and making it a statement of significance, with a bit of mourning for a world soon to be lost.” Sivan Shedmon, The Green Page

The Quest For The Missing PieceThe Quest for The Missing Piece

“Skillfully produced, this documentary poetically leads the viewer through parts of Israel in search of answering a question surrounding a major symbol of Jewish identity. Highly recommended.” Kenari Lee, AFI Los Angeles International Film Festival 2007 Cont’d

“Presented as a gently humorous fairy tale bridging the gap between tradition and modernity, this quest addresses personal feelings towards the ritual, the fear of exclusion, and the need to belong. Aided by wonderful animated sequences, Lotan pieces together the story of his own bris while reflecting on the complex role his sexuality and time spent away from home in Germany has played in shaping his Israeli identity. Lotan is an endearing ‘hero’ and a filmmaking talent to watch, negotiating an emotive topic with considerable wit and panache.” UK Jewish Film Festival

“The animated, poetic opening to this tale of a “brit” is an auspicious start to a serious, sometimes funny, semi-squeamish study of why this particular piece of skin goes “missing.” Lotan’s content is comprehensive, shies away from stereotypes and caricatures, and, surprisingly, is more than a little charming.” Elliot V. Kotek, 2008 Palm Springs International Film Festival

“One of the fest’s more entertaining and informative efforts is Oded Lotan’s debut effort, The Quest for the Missing Piece. You won’t complain. With wit, relentless questioning, and a little whining, Lotan has fashioned an engaging documentary that will have you unzipping this issue and rethinking your stance, no matter where you stand.” Culture Catch-The Foreskin Dilemma, Brandon Judell

“Lotan’s film presented as a tongue-in-cheek children’s fable, is a lighthearted but level-headed study of circumcision, taking in everything from his own bris to a Muslim family’s ceremony, from a meeting of a support group for parents of uncircumcised Jewish children to his own relationship with his partner, a non-Jewish German. His sense of humor is winning and his sense of family is charming.” George Robinson, Jewish Film Festival, N.Y.

MetamorphozaMetamorphoza

“Metamorphosis, Netalie Braun’s difficult and stunning documentary, portrays the testimonies of rape victims, combining them with cinematic images inspired by Ovid’s Metamorphoses.  A unique and poetic film, intense and important.” Pablo Autin, Globes

“Poetic, stylized and highly accurate film, excellently cinematographed.  One of the sharpest statements in the history of documentary narrative.” Gidi Osher, Galei Tzahal

“The power of the film derives from its combination of  the narrative and the visual, ancient myth and the very current stories.  The merging of  these accentuates that the place of women within the patriarchal order has not changed over thousands of years.  The film is an important cultural document, and a cinematic work which drives the genre of documentary film into new realms.” Tali Cohen-Garboz, HaDaf HaYarok

“An impressive documentary…accurate aesthetic choice.” Meir Shnitzer, Maariv

“The combination between the contemporary testimony and the classic text creates an intense emotional effect.” Avner Shavit, Achbar HaIr

“The powerful profile of four women in direct, bold, and fascinating appearances, filmed in extreme close-ups, lighted to the point of near blindness in front of the documenting camera.  The women hurt, agonize, cry almost without tears, and reconstruct those moments most distant from their consciousness, the most repressed.  The film is a slap in the face.  Surgery with no anesthetics.  It is impossible to turn one’s eyes away from the faces smothering the frame. ‘Metamorphosis’ is a challenging cinematic tapestry which creates a strong, screaming, uncompromising statement.  57 minutes of watching while holding your breath.” Nachum Mohiach, HaBama

“The film is not only important, but also beautiful and visually moving.  Because of the extended and heavy silence, the words are all the more dominant, especially the written words that are not a common cinematic element.  They are shot and hurled into the visual images of the sky, the trees, the streets, and the quivering characters.  It is surprising – the appearance of the familiar word, here receiving the volume of a marked picture, of a voice completing the mythical story, within a poetry that encapsulates the story of the soul that was silenced.” Rinat Aboulafia, Globes

Bilin HabibtiBilin Habibti

“Our honorable mention goes to Bil’in habibti by Shai Carmeli Pollak. The world knows about the intractable Israeli Palestinian problem and yet it has not been able to escape a mutual stereotyping that denies the emergence of real.

In this film Israeli and Palestinians join hands with International peace activists to bear witness on the very frontiers of conflict. While a wall of division is being built, they continue building the bridge.” Jury at Movies That Matter Award’ at Rotterdam Film Festival 2007

“Even viewers who don’t agree with Carmeli Pollak will find much to enjoy in the documenter’s stunning guerrilla aesthetics. An account of a David-and-Goliath bettle between armed Israeli soldiers and flag waving Palestinian villagers, Bilin Habibti is seductive both for its explosive polemics and nervous energy.” Nandini Ramnath, Time Out, Mumbai

Paper DollsPaper Dolls

“An affectionate look at an Israeli subculture” International Herald Tribune

“In search of a better life and a place to be accepted – Paper Dolls is both a surprise and something of a relief.” The New York Times

“Paper Dolls is an affectionate glimpse into a unique Israeli drag world.” Time Out, New York

“The resulting film is a sensitive and complex…” LA Film Festival presented by Los Angeles Times

“Paper Dolls, is the kind of film that inspires a myriad of questions even before an actual viewing.” Show Business

“Heymann’s film is a tender and touching portrait that is both fiercely political and deeply human. While it offers a compelling provocation on issues of race, class, and sexuality, what one remembers most is the simple beauty found in the most unexpected but essential of relationships.” SilverDocs- AFI/Discovery Channel Documentary Festival

“While you are at it, send Strand Releasing your love for picking this one up; it is a brave, rewarding, good film–the type you do not soon forget and, for weeks afterward, in the hype and furor of another bloated autumn, are grateful to have seen.” The Reeler, New York City Cinema, From The Arthouse to the Red Car

“Given its subject — five Filipino transvestites working as caregivers for elderly orthodox Jews in Israel and relaxing off the job by performing in a lip-sync drag revue — documentary film “Paper Dolls” could easily have turned into a freak show. It doesn’t, though, thanks to the heart and gentle dignity projected by the five, and the respect shown them by the obviously well-meaning Heymann.”

“The resulting film is a sensitive, complex portrait of men who are perpetual outsiders, at home and abroad.” am New York