Abraham Ronai

De jeunes soldats confrontés aux horreurs de la guerre perdent toute sensibilité dans la lutte pour la survie.

1944. A band of runaways and orphans of the war scour the countryside in search of food and shelter. They invade and then taken in by a musician and former concert pianist who’s hiding out in a ruined castle. After the initial altercation between them the gang accepts his guidance and he wins their respect by protecting them from the elements.

A re-working, re-editing, and restructuring of Sam Fuller's The Big Red One bringing it closer as originally envisioned by the late filmmaker. It includes forty-seven additional minutes which was not utilized in the film's original release. Supervised by Richard Schickel, Peter Bogdanovich, and editor Bryan McKenzie.

An adaptation of a popular Israeli stage musical. Kazablan is an army veteran turned gang leader in the Israeli port of Jaffa who masks his feelings of bitterness with a lot of bravado. He's sweet on Rachel, a young woman who lives with her father and stepmother. The budding relationship scandalizes the neighbors (not to mention Rachel's parents) and infuriates Yanush, a middle-aged shoe store owner who wants Rachel for himself. (Yanush feels he's entitled to marry Rachel since they're both Ashkenazi Jews of Eastern European origins, whereas Kazablan is a Sephardic Jew from Morocco.) The neighborhood has something else to worry about besides the antics of Kazablan and his gang: the city wants to tear down their crumbling homes. The residents pool their resources to save their houses, but the money that's collected is stolen. When he's jailed for the theft, Kazablan must find a way to clear himself.

A French engineer moves to Israel with his wife and daughter to manage irrigation projects. His daughter Catherine feels excluded, and disappears.

Prinzenbad gives us a microcosm of a society dominated by male power plays, wheeling and dealing, corruption, love, and eroticism.

A love story between two people from different cultures and the relatives who manage to separate them until the lovers again find each other.

A little group of people in Israel decides to track down a treasure which, according to the legend, is placed in the city of Petra in the kingdom of Jordan. No man ever survived this treasurehunt "to the other side" (of the Jordan River) before and the adventure ends up with fatal consequences.

The title is a reference to the Book of Isaiah 42:6, “I, the LORD, have called thee in righteousness, and will hold thine hand, and will keep thee free, and give thee for a covenant of the people, for a light of the Gentiles.” The film is an episodic, cinematic biography of David Ben-Gurion, from his days as a youth in Poland when he met Herzl in the town of Plonsk, through his move to Palestine/Israel, becoming leader, the days of the Independence War and the establishing of the State of Israel, signing the reparations agreement with Germany, and all the way to the making of this film – in the aftermath of the Six-Day War. Perlov’s film highlights all the key milestones in the leader’s life which it goes about doing in the tradition of the reflexive documentary, through the creator’s subjective and artistic pov. The film goes back and forth between documentary and scripted scenes, black and white and technicolour, and even archival footage colourised in bold, artificial colours.

The first German-Israeli sex comedy, three years before “Eis am Stiel”: Bibi, an innocent boy from the countryside, moves in with his grandmother in Tel Aviv. Spoiled by the sensual pleasures of the big city, he soon succeeds as a professional “orgasmologist” and has to stand trial for immorality.