momento-films.com | Catalog

COMMON STATE
Potential conversation 
A film by Eyal Sivan
Documentary | 2012 | 123 mn | color | 16:9 | Arabic, Hebrew | ST

Whereas the vision or the so-called solution of « two people – two States » in Palestine-Israel is dying a slow death, in the face of apocalyptical visions, an escalation of racism and an ongoing colonization and permanent repression on the part of Israel, Common State, A Potential Conversation, Eyal Sivan's new documentary film, shows a cinematographical encounter between Palestinian Arabs and Israeli Jews.


with the participation of: Ariella Azoulay, Omar Barghouti, Meron Benvenisti, Rozeen Bisharat, Eliaz Cohen, Leila Fersakh, Haim hanegbi, Sandi Hilal, Ala Hlehel, Hassan Jabareen, Yael Lerer, Gideon Levy, Roucham Marton, Hisham Naffa'a, Salman Natour, Ilan Pappe, Nurit Peled-Elhanan, Amnon Raz-Krakotzkin, Nadim Ruhana, Yehuda Shenhav, Ayelet Tzviel Haddad, Michel Warschwski, Khaled Ziadeh, Haneen Zouabi


Whereas the vision or the so-called solution of « two people – two States » in Palestine-Israel is dying a slow death, in the face of apocalyptical visions, an escalation of racism and an ongoing colonization and permanent repression on the part of Israel, Common State, A Potential Conversation, Eyal Sivan's new documentary film, shows a cinematographical encounter between Palestinian Arabs and Israeli Jews.
Twenty interviews were carried out on the theme of the common state with politicians and settlers, legal experts and artists, older and younger people, Ashkenazi and Sephardic Jews, Palestinian Arabs in Israel and in the occupied territories. The interviewees respond to the same questions in their mother tongue in discussion with the director, and the screen is split into two, with an Israeli Jew and a Palestinian in parallel, one listening and one talking and vice versa, thereby enacting a meeting point between two realities that are fragmented and separated from each other in daily life.

 AWARDS
-------------------------------------------------------------------------------------------------------------------------------------
JULIANO MER-KHAMIS PRIZE FOR BEST DOCUMENTARY
    Cinema South International Film Festival, Sderot, 2012

This DVD includes :

1 DVD Multizone  123 min | 16:9 | Dolby 0.2 | momento! 2012
OV : Arabic, Hebrew Subtitles : English
with: Ariella Azoulay, Omar Barghouti, Meron Benvenisti, Rozeen Bisharat, Eliaz Cohen, Leila Fersakh, Haim hanegbi, Sandi Hilal, Ala Hlehel, Hassan Jabareen, Yael Lerer, Gideon Levy, Roucham Marton, Hisham Naffa'a, Salman Natour, Ilan Pappe, Nurit Peled-Elhanan, Amnon Raz-Krakotzkin, Nadim Ruhana, Yehuda Shenhav, Ayelet Tzviel Haddad, Michel Warschwski, Khaled Ziadeh, Haneen Zouabi

180 €Price for Individuals


JAFFA
The Orange's Clockwork 
A film by Eyal Sivan
Documentary | 2009 | 88 mn | color | 16:9 | OVST


The history of Palestine and Israel is based on representations, on images and visual clichés. Among all the accepted symbols, only one is shared by both people: the orange. Through the story of Jaffa's oranges, the history of this land is told, a tale that is beautiful and heartrending. 


Jaffa’s orange is one of the symbols that helped build the Zionist discourse about Palestine: a “desert we have made bloom”.

Based on photographic and cinematographic documents, some going back as far as to the 19th century, Eyal Sivan’s film shows the orange groves at a time when Arab Jaffa was one of Palestine’s most populated and thriving cities.

From the picking of the fruit to its packaging before exportation, the orange was a source of revenue for thousands of peasants and workmen, not only from Palestine, but from Egypt, Syria and Lebanon too. Jews and Arabs worked together in the orange groves. These images were progressively replaced by socialist realist images, Israeli style, depicting labor and songs, emancipated women in shorts, etc.: it was the spreading of the “Jewish Labor”, the socialist call to action, excluding the Arabs. In 1948, Jaffa was ruined under the bombs and most of its population was gone. Jaffa’s orange then became the symbol of an Arab-free Israel. An international advertising campaign imposed the name “Jaffa”, like a trademark, concealing the city of Jaffa, its more than a hundred-year-old orange groves, and the history of the Jewish Arab cooperation over this legendary fruit..

«

In order to tell us this « orange's clockwork » and the taking-over of Jaffa, Eyal Sivan puts on the screen a multitude of images and representations and gives voice to many Palestinian and Israeli interlocutors, historians, writers, researchers, workmen… An outstanding work around archives, photographs, paintings, videos, and powerful testimonies.
Le Monde Diplomatique

With Jaffa, the Orange's Clockwork, Eyal Sivan uncovers, using a metaphor, a century of Israeli-Palestinian history.
Politis

The message of a colonization, meant to bring progress to a world of desolation, becomes an object of ridicule. (...) The film is worth seeing for the questions it raises in the viewer.
Le Monde

A remarkable work of memory.
Télérama

One of this film's interests lies in the pallet of interviewed people. (...) They all tell a vibrant account of life in Jaffa before the oranges became the symbol of the New Israel.
TéléObs

» 


Download the full press kit in a PDF format at download media

 AWARDS
-------------------------------------------------------------------------------------------------------------------------------------
WORLD PREMIERE IN OFFICIEL COMPETITION
    IDFA, Amsterdam, 2009
 
INTERNATIONAL JURY AWARD FOR BEST DOCUMENTARY
    Filmmaker, Milan, 2009

• YOUNG JURY'S SPECIAL MENTION
    Filmmaker, Milan, 2009 

AWARD FOR BEST EDITING
    Soleluna International documentary film festival on Islam and the Mediterranean, Palermo, 2010

 

FESTIVALS SELECTION
-------------------------------------------------------------------------------------------------------------------------------------
IDFA, International Documentary Film Festival, Amsterdam, 2009
Filmmaker, International Documentary film festival Milan, Italy, 2009
Full Frame Documentary Film Festival Durham, NC, USA, 2010
Nicosia International Documentary Film Festival, Cyprus, 2010
Bafici, Buenos Aires International Film Festival, 2010
Bergamo Film Meeting, Bergamo, Italy, 2010
Beldocs, Belgrada, Serbia, 2010
London Palestine Film Festival, London, UK, 2010
Toronto Jewish Film Festival, Canada, 2010
Visions du Réel, Nyon, Switzerland, 2010
Planet Doc Review Festival, Warsaw, Poland, 2010
Documenta Madrid 10, Madrid, Spain, 2010
Globale FIlmfestival, Berlin, Germany, 2010
Documentartist International Film Festival, Istanbul, Turkey, 2010
Sarajevo International Film Festival Sarajevo, Bosnia and Herzegovina, 2010
Dokufest International Documentary and short Film Festival, Prizon Republic of Kosovo, 2010
Boston Palestine Film Festival, 2010
Visoes do Sul, Mostra Internacional de Cinema de Portimao, Portimao Algarve, Portugal, 2010
Memorimage Film Festival Reus, Catalonia Spain 2010
VERZIO International Human Rights Documentary Film Festival Budapest Hungary 2010

 

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© Trabelsi productions [ISR] l Alma films [ISR] l the factory [FR] l Luna blue film [BE] l WDR [ALL] l NOGA Channel8 [ISR] l RTBF [BE]


JAFFA, THE ORANGE'S CLOCKWORK

88 minutes | Video | Color | 16:9 anamorphic | Stereo | 2009
Location : Israel, France
OV : Hebrew, Arabic
Sub-titles : French, English, Italian, Spanish, German, Hebrew, Arabic


A FILM BY

Eyal Sivan


WITH PARTICIPATION OF, IN ORDER OF APPEARANCE
Sami Abou Shahadeh - Ismaïl Abou Shahadeh - Haïm Gouri
Rona Sela - Elias Sanbar - Amnon Raz Krakotzkin - Gideon Makoff
Aviezer Chelouche - Tomer Chelouche - David Tartakover
Gideon Ofrat - Kamal Boullata - Moustapha Kabha
Mouhamed Hassouna - Shlomo Rizman - Arnon Yitzhaki
Mahmoud Yazbak - Doudik Shalit - Yosef Nahmias
Tal Amit - Roni Nakar - Zvi Kenan

ASSISTANT DIRECTOR

Erez Miller

CINEMATOGRAPHY

David Zarif
ADDITIONNEL CINEMATOGRAPHY

Vincent Fooy
Rémi Lainé
Shafir Sarusi
SOUND

Oren Raviv
Jean-Jacques Quinet
Asher Saraga
EDITOR

Audrey Maurion
AFTER EFFECT
 ANIMATION
Erez Miller
GRAPHIC CONCEPTION

Armelle Laborie
SOUND EDITING AND MIX

Jean-Jacques Quinet
ASSISTED BY

Damien Defays
RESEARCH

Marie-Nicole Feret
Tamar Katz
Yodfat Getz
ANIMATION STAND

Rahman Chowdhury
Fred Brown
ON LINE EDITING & COLOR GRADING

Matthew Hawkins
PRODUCTION MANAGER ISRAEL

Galit Cahlon
ASSISTANT CINEMATOGRAPHER
Nati Yehezkel

ASSISTANT EDITOR

Pascale Alibert
TRANSFERS

Michael Mograbi Berger
FRENCH VERSION

Catherine Neuve-Eglise

WITH THE FRENCH VOICES OF
Jean-Mars Delhausse - Thierry Janssens
Serge Kestemont - Fabienne Loriaux
André Pauwels - Philippe Résimont
Philippe Tasquin - Patrick Waleffe

TRANSCRIPTIONS AND TRANSLATIONS
Noa Ben Shalom
Rozeen Bisharat
Oriane Charpentier
Omaya Seddik
Awatef Shiekh
Louise Williams
 

ADDITIONAL RESEARCH
Yaakov Gross
Teresa Smith
Joan Yoshiwara
Kathrin Wildhagen
 

PRODUCTION ADMINISTRATION
Laurence Bertron
 

LEGAL SERVICE
Vered Cainar

TECHNICAL SERVICES
Brown & Altman, Tel-Aviv
MATRIX EAST RESEARCH LAB (MERL)
School of Humanities and Social Sciences
University of East London, UK
Haim Bresheeth , Steve Lauder
STUDIO

Studio 5 sur 5,  Bruxelles
MASTERISATION

Puzzle Film & Vidéo,  Bruxelles
SUB-TITLES

Nice Fellow, Paris

ARCHIVES
BFI National Archives
British Movietone
British Pathé
Footage Farm
Imperial War Museum
L’Atelier des Archives
Gaumont Pathé Archives
Ina
La Maison de la Pub/DR
Archives RTBF - Télévision belge
WDR Archives
Axelrod Collection - Jerusalem Cinematheque - Israel Film Archive
Citrus Marketing Board of Israel
IDF Archive
Israel Broadcasting Authority
Israel Film Services
Keren Kayemeth Le'Israel - Jewish National Fund
Steven Spielberg Jewish Film Archive - Hebrew University of Jerusalem
- Central Zionist Archives
United Studios Archive - Herzliya Studios Ltd
Yad Tabenkin Archive
Ramattan news agency
Library of Congress
Nara

PHOTOGRAPHIC CREDITS
Library of Congress, Prints & Photographs Division
Visit Palestine LC-USZC4-8342,
G. Eric and Edith Matson Photograph Collection
State of Israel - National photo collection : Daniel Kaplen Zoltan Kluger
Keren Kayemeth Le’israel - Jewish National Fund : Dov Daphnai,
Zoltan Kluger, Ben Noam, Joseph Zweig
Collection Ilan Roth, Herzliyah
Yaakov Ben dov - Werner Braun - Mula Eshet - François Scholten - Khalil Raad - Roger-Viollet

ARTISTIC CREDITS
Emad Abdel Wahhab - Tamam Al-Akhal - Mohieddin Al Labbad - Hilmi Al Touni - Isaam Bader
Nachum Guttman - Abdel Aziz Ibrahim - Raili Liaho - Loeb - Sliman Mansour - Kamil Mughanni
Marc Rubin - Reuven Rubin - Fares Samoor - Ismail Shammout - Suzanne - Zan Studio - Adnan Zbeidi
Ivette & Mazan Qupty Palestinien art collection
David Tartakover private Collection
Nachum Guttman Museum of Art
Reuven Rubin Museum
Collection musée Air France, service du patrimoine historique et culturel d'Air France
The Palestine Poster Project Archives - Liberation Graphics - Dan Walsh

FICTION EXTRAIT
Les Hirondelles ne meurent pas à Jérusalem
Réalisé par Ridha Behi
- Production Baba Films - Alya Films

MUSIC
Les oranges de Jaffa - Lyrics by Jean Marcland / Music byJoseph Mengozzi
© Warner Chappell Music France
Yafa - Music by Reem Kelani / Poem by Mahmoud Salim al-Hout
preformed by Reem Kelani / Piano : Zoe Rahman
Yaffa - Rahbani Brothers, Joseph Azar
Yafa Albal - Ghazi Sharqawi
Eshkolit - Traditional, Zeev Havatselet, Hadudaim, edited by: Eastronics
Shuvi shuvi la pardes - Yehudith Ravitz Meir Wiezelter Arik Sinai, edited by NMC united
Tapuah zahav - Yohanan Zarai Hayim Hefer Shlishiat Gesher Hayarkon, edited by Israphon
Bapardes layad hashoket - Nurit Hirsch, Yoram Taharlev, Yehoram Gaon, edited by NMC united
Mi ivne bait - Nachum Nardi, Levin Kipnis, Ofra Haza, edited by Hed Arzi music, NMC united
Be’mdinat ha’tapuz - Efraim Shamir, edited by Anana LTD, Mohar Eli, Rivka Zohar,
edited by Hed Arzi music, NMC united

ALL RIGHTS RESERVED


ALL ARCHIVES SHOWN IN THIS FILM WERE REEDITED


ACKNOWLEDGMENTS
Tamam Al-Akhal - Ridha Behi - Tal Ben Zvi - Ronit Chacham - Mona Deeb
Anat Even - Lily Farhoud - Shmulik Grub - Patrick Hepner - Armelle Laborie
Yaël Lerer - Maria Nadotti - Laura Malacart - Merav Ram - Adrian Rivkin
Rasha Salti - Nava Schreiber – Naomi Shavit - Karin Sivan – Dror Osnat
Uri Aylon - Nurit Bat Yaar - Guy Binshtok - Sameer El-Hajj - Mula Eshet
Avner Kahanov - Mazan Qupty – Dan Yahav
Sinai Abt - Gad and Yoav Ben Artzi - Nahman Ingbar - Lior Ohad
Eyal Openhaim - Minkov Museum - The first orchard in Rehovot
Carmit Rapaport - Society for Preservation of Israel Heritage Sites Hadas Beeri
Kaleen Gay-Para - Aloïse Jancovic - Laureline Edom - Nicolas & Camille Couderc

A COPRODUCTION OF
Trabelsi Productions
Osnat Trabelsi
Ori Duvnov
Talia Salomon
Alma Film
Arik Bernstein
the factory
Frank Eskenazi
Hortense Quitard
Claire Cochard
Eurydice Calméjane
Luna blue film
Serge Kestemont
Héléna Fages
Charlotte Bosquet
Nacho Carranza - Denis Delcampe
Bart Decoster - Ingrid Ingelrham
Catherine Kessels
WESTDEUTSCHER RUNDFUNK (WDR)
Documentary Supervisor Jutta Krug
NOGA Communications - Channel 8
Projects Development Liran Atzmor
RTBF (télévision belge)
Associated Producer Annick Lernoud
Production Manager Philippe Antoine
Documentary Supervisor Wilbur Leguebe

WITH THE SUPPORT OF
Centre du Cinéma et de l’Audiovisuel de la Communauté française de Belgique
et des Télédistributeurs wallons
Centre National de la Cinématographie
Procirep - Société des Producteurs
Angoa

WITH THE PARTICIPATION OF
Radio–Canada
Jean Pelletier, Georges Amar
Télévision Suisse Romande (TSR)
Documentary Film Unit
Irène Challand, Gaspard Lamunière
France Télévisions
Documentary Pole
Pierre Block de Friberg
Carlos Pinsky
Barbara Hurel
Philippe Le More
Valérie Verdier-Ferré
Press
Philippe Broussard
 

Cinémas Utopia

Festival Visions du Réel

France 5 

Palestine Poster Project

www.trabelsiproductions.com

www.eyalsivan.net

"An outstanding work around archives, photographs, paintings, videos, and powerful testimonies" Le Monde Diplomatique
"With Jaffa, the Orange's Clockwork, Eyal Sivan uncovers, using a metaphor, a century of Israeli-Palestinian history" Politis
"A remarkable work of memory" Télérama

 

This DVD includes :

1 DVD 9 Multizone [+ NTSC]  178 min | 16:9 | Dolby 0.2 | momento! 2010
OV : Arabic, Hebrew, French, English
Subtitles : Arabic, Hebrew, French, English, Spanish, Italian, German, Turkish
BONUS [90 min]
TV version + filmmaker interview + slide-show + historical maps

ISBN : 2-915-683-10-7

20 €Price for Individuals


THE SPECIALIST
Portrait of a Modern Criminal 
A film by Eyal Sivan & Rony Brauman
Documentary | 1999 | 128 mn | B/W | 4:3 | OVST

50 years after the Eichmann trial (Jerusalem, 1961), watch the film about "the extraordinary trial of a terribly ordinary man". It is an essay on obedience and responsibility, inspired by Eichmann in Jerusalem, a Report on the Banality of Evil written by Hannah Arendt, and directed by Eyal Sivan out of 350 hours of archives.


The Specialist is a courtroom drama painting the portrait of a zealous bureaucrat who has immense respect for the Law and hierarchy, a police official responsible of the elimination of several million people, a modern criminal.

The prosecution describes the accused as a blood-thirsty pervert, the Machiavellian liar and a serial-killer yet he appears as a quiet family man, both comic and terrifying in his banality. Although he doesn't deny the role he played in the criminal enterprise that he belonged to, he shelters behind the instructions of his superiors, his vow of allegiance and the obligation of obey orders.

He considers that his role as a mere agent, a purely administrative and logistic one, devoid of all passion, shelters him from the justice of men, even through it may not exempt him from all responsibility.

The accused, Adolf Eichmann, is a man of average height, in his fifties, shortsighted, nearly bald and wracked by nervous tics. Throughout his trial, he sits in a glass box, surrounded by neat piles of documents that he ceaselessly notes, re-reads and leafs through. An expert on emigration and specialist in the "Jewish issue", responsible for the transportation of "racial deportees" to the Nazis camps between 1941 and 1945, he describes his work with suffocating bureaucratic precision. Before the court and the witnesses who survived the hell that he consigned them to, he admits to having provided the death factories with human convoys for destruction. He struggles to show the conflict between his duty and his conscience and insists on the fact that no one can accuse him of having done his job badly.

Intoxicated on the dizziness of his own powerlessness, the accused describes himself as "a drop in the ocean, an instrument in the hands of superior forces". If he hadn't done it, he says, someone else would have done it instead.

The contrast between the monstrous nature of the crime and the mediocrity of the accused is immediately striking and becomes even more apparent during the thirteen scenes making up this documentary feature, revealing the portrait of a terrifyingly ordinary man. 

The Specialist is composed exclusively of the previously unseen 350 hours of footage recorded during the dramatic trial of the Nazi war criminal Adolf Eichmann, in Jerusalem in 1961. This film about obedience and responsibility portrays a specialist of problems solving, a modern criminal.


 


«

For all the questions it raises, The Specialist is an essential film, a work dusting people's conscience.
Historia

Eyal Sivan sketches a masterful reflection about disobedience-know-how as an essential component of our humanity.
Charlie Hebdo

The Specialist is an exemplary reflection on the banality of absolute evil.
Le Nouvel Observateur

Gripping, terrifying.
Télérama

The Specialist is a philosophical essay which clearly shows that cinema can be a tool for reflection and not just a vehicle for emotions. More than it is a duty to remember, it is a duty to think that the authors, Rony Brauman and Eyal Sivan, inspire; they wish to break the emotional opposition between the executioner and victim in order to lead us to consider what Hannah Arendt called "the banality of evil". (…) they claim the complete exercise of intelligence in order to reveal the deep structures of the human mind and of modern societies.
Le Figaro

You should watch The Specialist by Rony Brauman and Eyal Sivan. Watch and debate.
L’Histoire

(philosophical) film of the family of films with no family that invents a new form of history thinking, at a key moment in history.
Positif

Without hesitation, The Specialist may be the most important film made about the hitlerian "machine".
L’Autre Rive

» 

Download the full press kit in a PDF format at download media

AWARDS
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------

 ADOLF GRIMME AWARD
    Germany, 2001


FESTIVALS SELECTION
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------

Berlin International Film Festival - Official Selection, 1999
Doc Aviv, Tel-Aviv, Israel, 1999
Internationales Dokumentarfilm Festival, München, 1999
Rio de Janeiro International Film Festival, 1999
Toronto International Film Festival, 1999
Mostra Internacional de Cinema, Sâo Paulo, 1999
Sheffield International Documentary Festival, 1999
Semana Internacional de Cine de Valladolid, 1999
Duisburger Filmwoche, Germany, 1999
Tubingen french film Festival, Germany, 1999
Australian International Documentary Conference, 1999
Festival France Cinema Firenze, Italy, 1999
Margaret Mead Film Festival, New York USA, 1999
Festival of Jewish Cinema, Melbourne-Sydney-Perth, Australia, 1999
Mumbai Festival of Films, India, 1999
International Meeting Cinema & History, Istanbul Turkey, 1999
Cinemateket Svenska Filminstitutet, Stockholm Sweden, 2000
Human Rights Watch Film Festival, London UK, 2000
Diagonale 2000 Graz, Austria, 2000
Hong Kong International Film Festival, 2000
Buenos Aires Festival Internacional de Cine Independiente, Argentina, 2000
INPUT 2000, Halifax Canada, 2000

            

            

© momento production [FR] | BIFF [ALL] IMAGE CRÉATION [BEL] AMYTHOS Film & TV Productions [ISR] LOTUS Film [AUT] FRANCE 2 Cinéma - Westdeutscher Rundfunk [ALL]  RTBF Télévision belge [BEL]

THE SPECIALIST

128 min | 35mm | B&W | 4:3 | Dolby SRD  | 1999
Location : archive footage

OV : Hebrew, German
Sub-titles :
French, English, Italian, Spanish, German, Hebrew, Arabic, Chinese, Japanese, Croatian

A FILM BY
Rony BRAUMAN & Eyal SIVAN

With

The Accused
Adolf EICHMANN
Defence Attorney

Robert SERVATIUS
Attorney General

Gideon HAUSNER
Assistant Attorney 

Gabriel BACH Ya'akov BAR OR
Presiding Judge

Moshe LANDAU
Judges 

Benjamin HALEVI
Yitzhak RAVEH

Based on « Eichmann in Jerusalem, a Report on the Banality of Evil » by Hannah Arendt
Viking Penguin USA Inc. 1963 - Gallimard 1966

Directed and produced by
Eyal SIVAN

based on footage recorded in 1961 in Jerusalem, at the Adolf Eichmann trial,
by
Léo HURWITZ

Executive Producer 
Armelle LABORIE
Film Editor

Audrey MAURION
Sound Editors
Nicolas BECKER

Audrey MAURION
Digital Lighting Design
Jean-Marc FABRE
Sound Design
Nicolas BECKER
Mix
Philippe BAUDHUIN

Thomas GAUDER
Original Music

Nicolas BECKER
Jean-Michel LEVY
Krishna LEVY
Yves ROBERT
Béatrice THIRIET
Production Manager
Yves SMADJA

Post-Production Advisor
Thierry NUTCHEY
Associate Producers

Martine BARBÉ
Amit BREUER
Erich LACKNER
Elke PETERS
Production Administrator
Marysette MOISSET, Hasdrubal
Assistant Director
Armelle LABORIE
Assistant Film Editors

Valérie PICO
Maya CYPEL
Assistant Sound Editors
Valérie PICO

Coline BEUVELET
Trainee Editors
Pauline LEMAIRE

Idit RICHARDOT
Production Assistants
Sophie ALBIAR

Chen-Li BAR-TZION
Elke BORMANN
Sabine BOURGEOIS
Barbara JOHR
Joanna GRUDZINSKA
Monika LENDL
Claudia LEVIN
Musicians

Thomas BLOCH - Glass harmonica
Jean-Michel LEVY - Guitares
Yves ROBERT - Trombone
Choir

Mélanges, dirigée par Ariel ALONSO

Archives
Israel State Archives
Steven Spielberg Jewish Film Archive Vendeuse : Marylin KOOLIK
United Studio Hertzelia
Archive Remastering Technical Pattern
Patrick D'ARTOIS
Technical Advisors for Archive Remastering
Mario SCLAIR - ON SET

GRAVITY Post-production
Archive Remastering Technicians
Tim RINGHAM

Alexander SHAPIRO - ON AIR
Alexander PAPIRO - ON AIR
Transcoding of Archive Footage
Damien MAUREL
Restoration Software Design

François HELT, DUST Restauration
DUST Restauration Technical Unit

Philippe CHATEL
Valérie LA TORRE
John MONTEGUT
Jean-François RIDAME
Logistics Management DUST Restauration & Shooting
Hervé de CANTELOUBE

Catherine GASIGLIA
INA Innovation
Maurice OLIVIER

Raymond PERRIN
Jean VARRA
INA Rights et Archives

Jean-Jacques DESSAUX
Digital Post-Production Co-ordinator

Armin ERTL, VOSS tv-ateliers
Digital Post-Production Supervisor

Stefan HELMKE
Digital Effects Supervisor

Carsten DIETZ
Computer Systems Supervisor
Rainer Maguhn
Head Special Effects Operator
Jörn Mayer
Digital Effects P
reparation
Frank NOCKE

André PAULSEN
Special Effects Operators

Uta Rath
Arndt Baumüller
Susa Lie
Daniel Brylka
Christiane Grunenberg
Martin Ofori
Deborah Bliklen
Martin Fritz
Computer Graphic Artists
Stéphanie MEE

Patricia MEDJAHED
Bernard MAGAU
Claire SCHNEE
Marcel Appelhans
Cara ERTL
Halis KAYA
Kay Klesing
Annke Kraemer
Dirk Schmidt
Tobias Schoden
Ulrike Wilhelmy
Video Conforming

Armin ERTL
Norbert FRERICH
Eric MARTIN
Digital Post-Production Assistants
Lisa DRECKMANN

Lucas Meyer-Hentschel
Grading
Jean-Pierre GALLET

Eduard HERMANN
Post-Production Sound Co-ordinator

Olivier REY
Sound Logistics Co-ordinator
Dominique JOCHMANS
Remastering Archive Sound

Yisraël DAVID
Music and Sound Effects Recording

Myriam RENÉ
Benoit MENAGER
Nathalie VIDAL
Stéphane WERNER
Sound Engineers
Eric LONNI

Raphaël SOHIER
Nathalie VIDAL
Recorders

François DE MAN
Luc THOMAS
Frédéric WARNOTTE
Optical Transfer

David GILLAIN
Frédéric PIROTTE
Researchers
Maira COHEN

Efrat MICHAELI
Translators

Philippa BENSON
Margarete GERBER
Abraham GERSHOVITZ
Sophie Francis KID
Anne KRAATZ
Tania KRAMER
Alexandra MULLER
Lisa NÜRNBERGER
Annie WEICH
Sub-title Adaptation

Rony BRAUMAN
Catherine NEUVE-EGLISE
Marie-Claude REVERDIN
Andreas WIRTH
Recording
I.N.A.

Studio L'Equipe
Studio Orlando
Son Pour Son
Mix Auditorium

Studio L'Equipe
Editing Equipment
 Interface GmbH Allemagne

Sony Austria GmbH
Digital Studios

UMT - France
ERCIDAN - France
VOSS tv-ateliers - Allemagne
Digital Image Processing

DUST Restauration - France
Digital Transfer to 35mm Film

Film Laboratories
CENTRIMAGE - NEYRAC
LISTO Film GmbH Autriche
Sub-titling

Ercidan - France
Titra Film - Autriche
Stills Laboratory

Mise au Point
International Transport

MIDNITE EXPRESS
Production Accountants

Philippe CHATILLON
Sandrine  JOUAULT
Certified Accountant

Sophie BARGE
Literary Agent
La Nouvelle Agence
Legal Advisors

Maître Sabine CORDESSE
Maître Patrick HAUDUCŒUR
Advocat Orna LIN
Maître Claudine MEYRAND
Press Attachée
Eva SIMONET
Credits

ERCIDAN
SYNCHRO FILM
Trailer

Franck LAMBERTZ
A Coproduction By
MOMENTO !  - France

BREMER INSTITUT FILM / FERNSEHEN - Germany
IMAGE CRÉATION - Belgium
AMYTHOS Film & TV Productions - Israel
LOTUS Film - Austria
FRANCE 2 Cinéma - Pierre HÉROS
Westdeutscher Rundfunk - Werner DÜTSCH
RTBF Télévision belge - Jacques VIERENDEELS & Ives SWENNEN

           

"A work dusting people’s conscienceHistoria
“Gripping, terrifying” Télérama
"Cinema can also be a tool for reflection and not just a vehicle for emotions" Le Figaro
"To watch and debate” L’Histoire

This DVD includes :

DVD 9 NTSC [1.2.3.4.5.6]  183 min | 4:3 | Dolby 5.1 | Montparnasse, 2000
OV : Hebrew, German  ST : French, English, German
BONUS  About The Specialist
interview
[60 min] of Rony Brauman and Eyal Sivan
extracts from the book "Éloge de la désobéissance" + trailer + chapters
ISBN : 2-915-683-09-3

20 €Price for Individuals


ROUTE 181
Fragments of a Journey in Palestine-Israel 
A film by Eyal Sivan & Michel Khleifi
Documentary | 2003 | 272 mn | color | 16:9 | OVST

In the summer of 2002, Eyal Sivan and Michel Khleifi traveled together for two months from the south to the north of their country. In order to take this journey in their homeland, they traced it on a roadmap and named it "route 181". A common vision of an Israeli and a Palestinian, a baffling voyage through Palestine-Israel.


Route 181, offers an unusual vision of the inhabitants of Palestine-Israel, a common vision of an Israeli and a Palestinian.

In the summer of 2002, for two long months, Eyal Sivan and Michel Khleifi travelled together from the south to the north of their country of birth, traced their trajectory on a map and called it Route 181. This virtual line follows the borders outlined in Resolution 181, which was adopted by the United Nations on November 29th 1947 to partition Palestine into two states.

As they travel along this route, they meet women and men, Israeli and Palestinian, young and old, civilians and soldiers, filming them in their everyday lives. Each of these characters has their own way of evoking the frontiers that separate them from their neighbours: concrete, barbed-wire, cynicism, humour, indifference, suspicion, aggression…Frontiers have been built on the hills and in the plains, on mountains and in valleys but above all inside the minds and souls of these two peoples and in the collective unconscious of both societies.

Route 181, Fragments of a Journey in Palestine-Israel, takes us on a disorientating journey across this tiny territory with vast ramifications.


 

ABOUT THE FILM

Route 181 follows the borders drawn up by UN Resolution 181 which was adopted by the UN on 29th November 1947 to separate Palestine into two states – one Jewish and one Arab. 56% of the territory was attributed to the Jewish minority while 43% was given to the Arab majority, with a small central area given over to international supervision.

Route 181, fragments of a journey in Palestine-Israel is divided into three chapters
Each chapter traces a part of "route 181" :

THE SOUTH, from the port city of Ashdod to the frontiers of the Gaza Strip.

THE CENTRE, from the Jewish-Arab city of Lod to Jerusalem.

THE NORTH, from Rosh Ha’ayn, near the new separation wall, to the Lebanese borders.

Both filmmakers are convinced that the situation in the Middle East is an ideological/pathological construct made by men, which can therefore be unmade by them.

Their journey was peripatetic and led them to the most arbitrary of encounters.

No appointments were organised beforehand, no personalities contacted, no “official” interlocutors.

Armed only with authorisations to film, they stopped and filmed : anonymous Israelis and Palestinians who speak of their lives, their experiences, their situations, their persoanl memories and understandings of what is happening around them today. These people speak also of tomorrow and what could become of them and their country.

This theoretical border, which was presented as a «solution», led to the outbreak of the first Arab-Israeli war and to a conflict, which remains far from resolved.

55 years later, the journey of these two filmmakers along “route 181” traces a border which never actually existed.

Michel Khleifi and Eyal Sivan wanted to take this joruney together to listen with the ears of the other and to come nearer, each with the help of the other, to those whom fear usually keeps apart.

To understand. To convey what is desired and experienced ; distinguish people’s dreams from political projects ; hear what one wants to forget; listen to the other – this is how this journey in search of a possible peace and a life together has the qualities of an initiation.


In their project notes, the two filmmakers write:

"Despite the tribal allegiances imposed on us, which we reject, and armed with our common experience, we decided to return to our country. By doing so, we wanted to unveil the geographic and mental reality in which the men and women of Palestine-Israel are living today.

"The demarcation line of the Partition Plan for Palestine, drawn up and voted by the UN in 1947, was the starting point of our film. For us, it represented both a documentary challenge and promises of a rich human adventure.

"Along this demarcation line, which does not in fact exist, we wanted to film, in a particular way, men and women, places, all previously unseen. During these chance meetings, we listened together to the varying sounds of people, to their passions and disillusionment. We provoked – in us but also in our interlocutors – a relationship of love in response to a daily reality saturated with danger and overwhelmed by death. The voices of those forgotten by official discourse will we hope, be heard – the voices of those who nonetheless constitute the majority in both societies, those in whose name wars are fought.

"We wished to construct a film which resists the idea that the only thing Israelis and Palestinians can do together is fight wars until they are both driven to oblivion."

This film does not have two points-of-view but a common one emanating from two complimentary visions. Whatever the unease which their journey may cause us, Michel Khleifi and Eyal Sivan invite us to follow in their footsteps.

 

TO THE SOUTH: From Ashdod to Gaza

Ashdod. On the seaside, a building site in progress. Israeli foremen, Chinese workers and Palestinian (Israeli citizen) surveyors are working together.

Gan Yavne is built on the ruins of Barkaa village. A fruit-juice saleswoman is running a small shop on the roadside. She speaks about the right to return. Further on, the manager of a building site refuses to speak about any political issues.

Kiriat Malahi. In his shop, a candy salesman, a Jew from Iraq, remembers his past. He tells us with nostalgia that, in the past, there were a lot of Palestinian villages around.

Shafir. In front of his house, a young high-tech engineer speaks about his neighbours, workers from the Gaza Strip. His father tells the story of this village, built in 1949 by European survivors.

In the museum of the kibboutz Yad Mordechai, an old pioneer tells how the Palestinian inhabitants were expelled towards the Gaza Strip.

Kibboutz Negba. A statue, a Stalinist-looking monument and a scale model of the kibbutz in its beginning remind us of the socialist dream underlying the Zionist project.

In Gaza, the Karni check-point is closed to any civilian access. Some goods trucks have to wait in front of the blocked borderline. No way to cross any of the other checkpoints all around the Gaza Strip.

The "concertina" is manufactured there. It is a special barbed wire with several layers, for which a patent was registered by the factory's owner. It sells very well, in Israel and abroad.

On the border with the Gaza Strip, an Israeli family visits the water reservoir of Nir Am and contemplates the Gaza Strip, which remains closed.

The retired military commandant of the Southern Region during the 1948 war is now the manager of the museum of Nir Am. He explains how the Negev was imposed on the UN Partition commission as a Jewish area. He concludes with his dreams for a tourist development on the frontier.

Beit HanounIt is forbidden to film in the military base. But it is allowed to film the electrical fence, which surrounds the Gaza Strip.

Not far from the frontier with Gaza, in the middle of nowhere, there is a white house that a member of Kibbutz Nir Oz wishes to transform into an art gallery.

The night falls on the deserted Erez check-point.

This evening, the Herzl House is rented out for the celebration of a great wedding.

 

THE CENTRE: From Lod City to the Jerusalem area

In the Centre for New Immigrants in Lod, Russian musicians play melodies from Eastern Europe to greet new immigrants just arrived from Ethiopia who seem visibly perplexed.

In front of the town hall, a group of Jews and Arabs from the movement "Living Together" [ta’yoush] demonstrate against the demolition of houses planned for the Arab districts of the cityAt the same time, the local council discusses these demolitions.

In the quarter called "ghetto", a woman who was political prisoner for years and her Jewish neighbour live side by sideIn his hairdressing salon, the old barber speaks about the expulsion of the Palestinian inhabitants of Lod (Lydd), a big Arab city before 1948.

On the way to the kibbutz Geser, a Jewish man from Russia regrets to have immigrated in Promised Land. Further on, a Bedouin leading his herd dreams of joining the Israeli army.

In Kibbutz Geser, a group of American Protestants from Kansas plant a few olive-trees as a solidarity gesture with Israel. The ceremony is conducted by a woman rabbi and her husband, both of them American Jews.

On the way to Jerusalem, the ruins of the Palestinian villages are visible.

In Kfar Binoun, a sculptor, son of Holocaust survivors, speaks about the ordeal suffered by his mother during the war. For him, building his personal heaven for himself and his family is a kind of revenge.

In Hulda, a guide of the Jewish National Fund welcomes the visitors to Herzl House in Hulda. Like all the Jewish villages built on the sides of the road to Jerusalem, Hulda was built on the ruins of a Palestinian village.

There are several military checkpoints on the road approaching Jerusalem.

Kalandia is the biggest military checkpoint between Jerusalem and Ramallah. This is also an opportunity to discuss with the duty soldiers about the importance of being polite.

In a military tribunal, a human rights Israeli lawyer defends young Palestinians accused of being suicide bombers. The court is under high surveillance. The families of the defendants are here. When the mothers try to kiss their sons, the young soldiers immediately stop them. It is forbidden to touch the defendants.

In Abou Dis, the big concrete wall cuts through the town. A Palestinian geographer explains that the settlement-building all around Jerusalem is part of a global colonisation strategy.

Several houses of suicide bombers’ families were dynamited during the night by the Israeli army. Then, entire families find themselves out on the street. They walk through the ruins of their houses expressing their anger.

Since a suicide-attack in Jerusalem was just announced, the zone is totally closed. At the Al-Ram check-point, a soldier spontaneously goes to the camera to give his explanations, which he wants to be transmitted all over the world.

Ramallah is totally empty, under curfew. The Israeli army is there, controlling any movement. From his tank, the commandant speaks about literature and philosophy.

The road between Bethleem and Beit Jala is closed. The guests of a Palestinian wedding that is to be celebrated there have to use small tracks and climb over piles of earthBut the military occupation is unable to prevent the wedding party from taking place.

 

TO THE NORTH: From the city of Rosh A’aiyn to the Lebanese border

In Rosh A'Aiyn, on the ruins of Majdal Sadek, a Jewish Yemenite jogger runs with his dog. There, he denies totally the destruction of any village in 1948.

The highway to the North is all new, like the separation wall built on its side.

Near Kalkylia, in a small archaeological place, the workers are Palestinian and the archaeologists Israeli. Next to it, workers are building the wall. They are Arab, Turkish-Bulgarian, Uzbek...

Surrounded by Israeli positions, the city of Kalkylia is under curfew.

In Tulkarem, soldiers stop a group of demonstrators from the Jewish-Arabic movement Ta’ayoush (living together). They have to cross the hills to bring food to the inhabitants of the Palestinian city under siege. Access is impossible.

In Bir Sika, inspectors of the Rabbinate inspect the harvest and ensure that it is kosher. The owner explains how he moved the borders of his land….

In the region of Emek Ysrael, at night fall, fighter planes come back to their military air base, in the middle of the Jezreel ValleyA jogger from a neighboring kibbutz thinks that the current settlements took the place of the yesterday's kibbutzim.

In kibbutz Yifat, employees of the Pioneer Settlement Museum perform a play which recounts the story of the first pioneers in front of young and old visitors.

The town of Lubia is in ruins. A group of Israeli teenagers, protected by an armed guard, walk where the town once stood.

The manager of the Museum of Sejera, an immigrant from the United Kingdom, describes his personal story as a continuation of the pioneers', who installed themselves here, at the beginning of the 20th century.

In Tura'An, an old Palestinian woman, surrounded by her grandchildren, speaks about her expulsion from Sejera, only 4 kilometres from there, where she used to live until 1948.

Next to the war memorial in Nujeidat, a group of Israeli Arab pupils discuss questions of identity.

An old man we meet at the entrance of kibbutz Farudspeaks in detail and without hesitation or compunction about how he took part in the expulsion of the Arab inhabitants of the North of Palestine during the war. This operation was called "Operation Broom".

In the village of Kfar Shammaï, a girl reads an inscription on a wall: "We had a dream. Now we have a maybe.A Jewish woman from Morocco explains how she took part, when she was a teenager, in the illegal immigration of Moroccan Jews.

Meron is a religious place. It is always bedlam. Everything can be bought, everything sold. In a mixture of deafening sounds, young religious men dance together.

In Shefer. He is a Jew from Morocco. She is a Jew from Tunisia. Both of them live together in the nostalgia of their countries of origin. “Our youngest son died during the Lebanon War” she tells us. Beside it, they are sure that Jewish and Arab peoples can live peacefully together, like it was in the past.

 

The sun falls on the barbed wire of the frontier with Lebanon.

«

Each interview is like a bombshell, the words exchanged are so full of confusion or hatred
Le Figaro

A film quite critical of Israel, overwhelming sometimes, but exciting and revealing
Le Monde

A great testimony, imbued with the desire to live and build together
France Soir

A documentary with the effect of a bomb
Télérama

A complete film, a successful documentary challenge
La Vie

Going against received ideas, the two filmmakers revisit the territories, to prove that "Palestinians and Israelis can make something together other than war"
Humanité Hebdo

» 

Download the full press kit in a PDF format at download media

AWARDS
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------

HUMAN RIGHTS FESTIVAL AWARD
    Paris, France, 2004
MAYOR AWARD, INTERNATIONAL DOCUMENTARY FILM FESTIVAL
    Yamagata, Japan, 2005


FESTIVALS SELECTION
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------
Festival du Monde Arabe, Montréal, 2003
Festival of Arab, Iranian and South Asian Films, New-York, 2003
Festival Cinéma du Réel, Paris 2004
Festival de Rabat, 2004
Festival Manifesta, San Sebastian, 2004
Festival de Carthage, 2004
Festival de Haïfa, 2004
Festival de San Fransisco, 2004
Festival de Washington, 2004
Festival “Filmer à tout prix”, Bruxelles 2004
Dokma Festival, Slovénie, 2004
Festival de Singapour, 2005
Festival de Philadelphie, 2005
Festival International de Jeonju, Seoul, 2005

           

           

© momento! [FR] l SOURAT FILMS [BE] l WDR [ALL] 


ROUTE 181, FRAGMENTS OF A JOURNEY IN PALESTINE-ISRAEL

272 minutes | Video | Colour | 16:9 anamorphic | Stereo | 2003
Location : Israel, Palestine
OV : Hebrew, Arabic
Sub-titles : French, English, Italian, Spanish, German, Hebrew, Arabic


A FILM WRITTEN, DIRECTED AND PRODUCED BY

Eyal Sivan & Michel Khleifi


PRODUCTION

ARMELLE LABORIE
CAMERA

Philippe Bellaïche
SOUND

Richard Verthé
EDITING

Sari Ezouz
Eyal Sivan
Michel Khleifi
SOUND EDITOR

SARI EZOUZ
SOUND DUBBING

STÉPHANE LARRAT

CO-PRODUCERS
OMAR AL-QATTAN, SINDIBAD FILMS LTD
WERNER DÜTSCH, Westdeutscher Rundfunk Köln
MICHEL KHLEIFI, SOURAT FILMS SPRL
ALAIN BOTTARELLI
IN ASSOCIATION WITH

ARTE France 
WITH SUPPORT FROM

Centre National de la Cinématographie

 

...


“Overwhelming sometimes, yet revealing and exciting” Le Monde
“A great testimony, imbued with the desire to live and build together”
France Soir

“A complete film, a successful documentary challenge” La Vie

This DVD includes :

4 DVD9 PAL BOXSET 402 min | 16:9 | Dolby 2.0 | momento production, 2004
OV : Arabic, Hebrew
Subtitles : French, English, Hebrew, Arabic, Spanish, Italian, German

BONUS [130 min]
deleted scenes + filmmakers interview + maps and documents
ISBN : 2-915683-00-X

34 €Price for Individuals


YESHAYAHU LEIBOWITZ
[Box Set] 
A film by Eyal Sivan
Documentary | 1991-93 | 300 mn | color | 4:3 | OVST


3 DVDs consecrated to professor Yeshayahu Leibowitz, philosopher and scientist, including Izkor, slaves of memory & Itagaber, He will overcome, exclusively in this box set & a 40 minutes bonus of unpublished interviews with the professor.


ITGABER, he will overcome

Using vocabulary that can be understood by everyone, the philosopher opens himself up with a critical reflexion about what makes Man : his will power, his freedom, what he chooses, the tasks he sets himself, and how by “Triumphing over Oneself”, he goes above the others of this world.

Inspiration for the movement of Israeli soldiers who refuse to do their military service in the Occupied Territories, Professor Yeshayahu Leibovitz, who has always been very attached to the idea of divine law, explains, in a very provocative way, his position with regards to the law and authority in general, and with regards to the Israeli State and government in particular.

In the tradition of the Prophets, his uncompromising words force each individual to face up to their responsibilities, both as a human being and as a citizen.

 

IZKOR, slaves of memory

Izkor means "remember" in Hebrew and this film looks in depth at this imperative that is imposed on the children of Israel. In Israel during the month of April feast days and celebrations take place one after another. School children of all ages prepare to pay tribute to their country's past. The collective memory becomes a terribly efficient tool for the training of young minds. Izkor, is a portrait of the Israeli society that has never been shown before, thirty days in the life of a state that lives to the rhythm of its memory. This award-winning film puts forward a passionate and severe analysis of the Hebrew state.

«

ITGABER, he will overcome

The film preserves an oratorical art, made of imprecations, brisures, silences and repetitions, peculiar to the subtle and grandiloquent prophets the Jewish people has always had. (...) The cathodic dimension is never lost, Leibowitz is set face to face with previous shootings, through a video - tape recorder. This device attempts to shake up a thought system, as well as tracking it. Not fooled but fascinated, this document exasperates and delights.
Télérama

Original because despite of the strong personality of his interlocutor, the director succeed in keeping a loyal distance which doesn't deprive the spectator of his freedom of perception. In front of Eyal Sivan's camera, Yeshahyaou Leibowitz casts many roles : the scientific philosopher delivers the argued fruits of his thoughts and knowledge, the citizen fires against the established order, the interviewed returns the questions to the interviewer and comments it. The whole thing is to be heard and watch with delight.
Différences

Whether you side with Leibowitz' thoughts or feel a fierce hatred towards him, this film instructs and shakes you up. Rare qualities in this day and age.
Journal des lettres et de l'audiovisuel

«

IZKOR, slaves of memory

An in-depth, uneasy and disturbing reflection on the roots of Israeli nationalism.
Le Monde

This painful and great documentary leaves you alone and despaired, with your conscience beating wildly.
Télérama

Izkor, the excellent documentary by Eyal Sivan, shows how the month of April is strategic for spreading Zionsim, Israel's founding ideology, in the young generations.
Libération

» 

Download the full press kit in a PDF format at download media

AWARDS
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------

    Izkor, slaves of memory
PROCIREP AWARD, Jury's Special Mention
    FIPA, 1991

INVESTIGATION PRIZE, Biennale Européenne du Documentaire
    Marseille, 1991

GOLD LENSE
    Tel-Aviv, 1991

           

           

© Les films d'ici [FR] | Images et Compagnies [FR] | Amythos Films [ISR] | FR3 [FR]

ITGABER

2 X 85 minutes | video | Colour | 4:3 |Stereo | 1993
Location : Israel
OV : Hebrew
Sub-titles : French, English, Italian, Spanish, German

 Author
Eyal Sivan

Director of Photography
Rony Katzenelson
Sound

Amir Buverman
Editing

Eyal Sivan & Charlotte Tourres
Producer

Ruben Korenfeld

 

© Ima Production [FR] | Reha Film [FR] | Adam [ISR] | FR3 [FR] | ZDF [ALL]

IZKOR

97 minutes | 16 mm | Colour | 4:3 | Stereo | 1991
Location : Israel
OV : Hebrew
Sub-titles :
French, English, Italian, Spanish, German, Arabic

Author
Eyal Sivan

Director of Photography
Rony Katzenelson
Sound

Rémy Attal
Editing

Jacques Cometz & Sylvie Pontoizeau
Producer

Ruben Korenfeld

 

...


"Not fooled but fascinated, this document exasperates and delights" Télérama
"An in-depth, uneasy and disturbing reflection on the roots of Israeli nationalism" Le Monde

This DVD includes :

Box set of 3 DVD9  [ZONE 2]  300 min | 4:3 | Dolby 2.0 | momento! 2007
OV : Hebrew
ST : French, English, German, Italian, Spanish, Arabic
DVD1 : ITGABER, on science and values [85 min] + BONUS [17min]
DVD2 : ITGABER, on State and law [85 min] + BONUS [17min]
DVD3 : IZKOR, slaves of memory
ISBN : 2-915683-06-9

29 €Price for Individuals


IZKOR
slaves of Memory 
A film by Eyal Sivan
Documentary | 1990 | 97 mn | B/W | 4:3 | OVST

Izkor means "remember" in Hebrew and this film looks in depth at this imperative that is imposed on the children of Israel. In Israel during the month of April feast days and celebrations take place one after another. School children of all ages prepare to pay tribute to their country's past. The collective memory becomes a terribly efficient tool for the training of young minds. Izkor, is a portrait of the Israeli society that has never been shown before, thirty days in the life of a state that lives to the rhythm of its memory. This award-winning film puts forward a passionate and severe analysis of the Hebrew state.


IZKOR, is a portrait of the Israeli society that had never been shown before, thirty days in the life of a State that lives to the rhythm of its memory. This award-winning film puts forward a passionate and severe analysis of the Hebrew state.


“IZKOR,” means "remember" in Hebrew and this film looks in depth at this imperative that is imposed on the children of Israel. In Israel during the month of April feast days and celebrations take place one after another. School children of all ages prepare to pay tribute to their country's past. The collective memory becomes a terribly efficient tool for the training of young minds.

In Israel, “Never again” is not just a slogan, it's a “mantra”. It is an atmosphere, an ever present cloud, a widespread fear, touching every aspect of daily life, reason, opinions, creativity and choices people make for the future. Though Israel has been under the media spotlight since its creation, it is still a mystery to many observers. Its survival raises moral problems for some, and malicious speculation in others. But it is precisely on account this survival issue that the identity and determination of the population were forgotten.

The author of the film is an Israeli. By going to rediscover the myths and symbols that have contributed to the making of his own identity, as well as that of every Israeli, he is bringing into play his own personal experience. Through a meticulous observation of the educational system, from kindergarten to the army, we discover how history is transformed into memory, how it sets an atmosphere and influences Israelis' behavior and lifestyles. Not only of interest for specialists on Israel, the film is an assessment of the place of memory in educational practice in a contemporary nation-state.

“Izkor offers the viewer a disquieting sense of the intensely ideological role of the Israeli educational system” OU “Izkor is a remarkable portrait of the Israeli educational system, but the sort of indoctrination in nationalist mythology that you criticize goes on in every country.”
- Cineaste


"It is not difficult to understand why Sivan's film has offended some people. Certain memories have attained the status of sacred cows and any viewpoint not totally reverential to them may be considered taboo. Sivan implies no disrespect to either the memories or the events they preserve, but is questioning the methods used in ensuring them for the future. A sacred cow not open to questioning must be considered suspect by an alert mind.
- The Jerusalem Post

“Courageous film”
- Les Cahiers du Cinéma


"Izkor is an hypercritical vision of the educational system of Israel. It is illustrated by the thoughts of professor Leibovitz who points out an extensive use of the memory of the past in order to justify the present actions."
- Jewish Press Agency

"These two hours won't leave anyone unharmed."
- L'Express

Awards & Film Festivals selections
Procirep Prize & jury's special mention, FIPA 1991 • Investigation Prize  European Documentaries Biennale, Marseilles 1991
Golden Lens, Tel Aviv Film Festival 1991 •

            

            

© Ima Production [FR] | Reha Film [FR] | Adam [ISR] | FR3 [FR] ZDF [ALL]

IZKOR

97 minutes | 16 mm | Couleur | 4:3 | Stéréo | 1991
Lieu de tournage : Israël
VO : hébreu
Sous-titres : 
français, anglais, italien, espagnol, allemand, arabe

Auteur
Eyal Sivan

Chef opérateur
Rony Katzenelson
Ingénieur du son

Rémy Attal
Monteurs

Jacques Cometz & Sylvie Pontoizeau
Producteur

Ruben Korenfeld

...

A film on memory and politics:this is the way that Israeli society exploits its myths
to train hard people without doubts or remorse,the soldiers of the future wars.”
-Tom Segev (author of The Seventh Million) Haaretz
“Courageous film” Les Cahiers du Cinéma

This DVD includes :

DVD5 [PAL]  97 mn | 4:3 | stéréo | momento production, 2006

VO : Hebrew – ST : French, English, Spanish, Italian

ISBN : 2-915683-02-6915683-02-6


19 €Price for Individuals


ARNA'S CHILDREN
 
A film by Juliano Mer Khamis
Documentary | 2004 | 84 mn | color | 16:9 | OVST

Yussef committed a suicide attack in 2001. Ashraf was killed by the Israeli army in 2002. Alla led a group of resistance fighters to his death in 2003. The director, who documented them as promising child actors in a theatre group he founded with his mother Arna, returns to Jenin Refugee Camp in April 2002, to see what happened to the children he knew and loved…


Yussef committed a suicide attack in 2001. Ashraf was killed by the Israeli army in 2002. Alla led a group of resistance fighters to his death in 2003. The director, who documented them as promising child actors in a theatre group he founded with his mother Arna, returns to Jenin Refugee Camp in April 2002, to see what happened to the children he knew and loved….

Juliano Mer Khamis is the son of Arna Mer, a Jewish woman, and Saliba Khamis, a Palestinian man. Today, Juliano is one of Israel/Palestine’s leading actors. During the first Intifada, his mother Arna established an alternative educational program in Jenin Refugee Camp to compensate for the virtual collapse of the formal one due to the Israeli occupation. Among its activities, was the ‘Stone Theatre’ – a performance workshop that Juliano directed. Eight years after Arna’s death, and  five years after the theatre project ended, Juliano returns to the Camp to discover the tragic story of “Arna’s children.”

«

A must-see documentary. Sure to spark controversy for its straightforward presentation of the Palestinian struggle, Arna's Children limns a devastating group portrait of the legacy of occupation.
Variety

Arna's Children offers a rare and poignant window into the lives and deaths of a lost generation of Palestinians.
The Washington Post

The film can be summed up in five words: a punch in the guts.
Israel Channel 2

» 

Download the full press kit in a PDF format at download media

AWARDS
-------------------------------------------------------------------------------------------------------------------------------------

BEST FEATURE DOCUMENTARY, Tribeca Film Festival
USA

FIPRESCI, BEST FIRST DOCUMENTARY, Hot Docs Film festival
Canada

BEST FIRST DOCUMENTARY, One World film festival
Czech Republic

THE DUTCH ACADEMY AWARD FOR BEST DOCUMENTARY
Holland, 2004

           

           

© Trabelsi productions [ISR] | Pieter van Huystee Film [HOLL] | IKON Television [HOLL]

ARNA'S CHILDREN

84 minutes | Video | 16:9 | Stereo | 2005
Location : Jenin, Palestine
OV : Arabic, Hebrew, English
Sub-titles : French

Author
Juliano Mer Khamis

Directors
Juliano Mer Khamis et Danniel Danniel

 

 

www.trabelsiproductions.com

"A mest-see documentary. An uncompromising representation of the Palestinian struggle" Variety
"A punch to the stomach"
Israel Channel 2
"A rare and poignant look on a lost generation of Palestinians" The Washington Post

This DVD includes :

DVD 5 [Multizone]  84 min | 4:3 | stereo | momento production, 2006
OV : Arabic, Hebrew, English ST : French
ISBN : 2-915683-04-2

19 €Price for Individuals


THE GARDENERS
of the Rue des Martyrs 
A film by Leïla Habchi & Benoît Prin
Documentary | 2003 | 81mn mn | color | 16:9 | OVST

Almost 40 years after the war in Algeria ended, in a workers’ garden in Tourcoing, a city in the North of France, French and Algerian men cultivate their piece of land. These men were the conscripts, National Liberation Front militants or “harkis” in a colonial war led by the French Republic.


Almost 40 years after the war in Algeria ended, in a workers’ garden in Tourcoing, a city in the North of France, French and Algerian men cultivate their piece of land. These men were the conscripts, National Liberation Front militants or “harkis” in a colonial war led by the French Republic.

This garden holds a place for memory of many aspects, where men who could have met at war or in the factory, get together. It is cultivating a vegetable garden, a universal activity above all, that brings them together.

Sharing from a distance a common history, considering each other with indifference or even hostility, for cultural, social or political reasons, they work side by side on the same patch of land.



«

It's the whole story, complex and painful, of the relationship between two inextricably linked countries, that emerges from these testimonies collected by Leïla Habchi and Benoît Prin.
Le Monde

The documentary brings subtly to light the bruised memory and the sometimes obliterated future.
Télérama

» 

Download the full press kit in a PDF format at download media

FESTIVALS SELECTION
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------
États généraux du documentaire de Lussas, 2003

           

           

© Momento l Vidéorème l Leitmotiv Production l C.R.R.A.V. l C9 Télévision

THE GARDENERS OF THE RUE DES MARTYRS
81 minutes
| Video | Colour | 16:9 | 2003
Location : France

 OV : French & Arabic
Sub-titles : French, English

To the memory of 
Omar HABCHI
A film by 

Leïla HABCHI et Benoît PRIN

 

With the kind participation of
Abdallah, Abderhaman, Ali, Allal, Amar, Ahmed and wife, Bachir, Chérif and wife, Edmond, Hammou, Jean, Lakhdar, Michel, Mohamed, Nordine, Raymond, Roger. As well as all of the gardeners of the rue des martyrs in Tourcoing.


A film directed and produced by
Leïla HABCHI et Benoît PRIN
assisted by

Linda CHORAB
Cinematography
Linda CHORAB
Leïla HABCHI
Sound
Benoît PRIN
Editors
Ruben KORENFELD
Corinne BACHY
Benoît PRIN
Assistant Editor

Eulalie KORENFELD
Sound Editor

Coline BEUVELET
On line Editing & Grading

Eric SALLERON
Translations

Leïla HABCHI
Linda CHORAB
Benoît PRIN
Executive Producer
Armelle LABORIE
Associate Producer
Eyal SIVAN
Associate Producers
Ourida FAHRI
Jérôme AMIMER
Christian LAMARCHE
François TAVERNIEZ
 

A coproduction of
Momento !
Vidéorème
Leitmotiv Production
CRRAV
C9 Télévision

Music
Bachir improvising "à la gesbah"
"Ya Malik Elmoulouk" by El Hadj M'Hamed ELANKA © Club du disque arabe

Technical Services
CRRAV
Vidéorème (Roubaix)
Collège de l'Europe (Tourcoing)
C9 Télévision (Lille)
GSARA (Bruxelles)
Sylicone (Paris)
Avidia (Paris)
 

With the help of
Centre national de la Cinématographie
La Région Nord-Pas de Calais
La Région Limousin, de l'Etat - Direction Régionale des Affaires Culturelles du Limousin,
Le Fond d'Action Sociale (F.A.S.)
La ville de Tourcoing
La Caisse des Dépôts et Consignations
La ville de Roubaix
La D.R.A.C. Nord – Pas de Calais
Le G.S.A.R.A. Bruxelles
Le collège de l'Europe de Tourcoing
C9 Télévision

Developed with the help of
MEDIA Programme of the European Community
 

Acknowledgments
Chabha ANSEUR, Zoubeïda ATHAMNIA, Samia AYEB, Luc BAELE, Abdelkader BENTOUIL, Moussa BOUBZIZ, Horia CHEUFRI, Patrice DEBOOSERE, Olivier DEROUSSEAU, Fadma EL BAZ, Jamal EZ ZOUAINE, Anne-Marie FAUX, Jean-René GENTY, Sonia GAUMONT, KERMIT, Mounir LAOUANI, Robert NAVARO, Samy NYUNUYANTU, Omar TARY.

 

...


"It's the whole story, complex and painful, of the relationship between two inextricably linked countries, that emerges from these testimonies collected by Leïla Habchi and Benoît Prin
Le Monde
The documentary brings subtly to light the bruised memory and the sometimes obliterated future” Télérama

This DVD includes :

1 DVD5 [PAL]  81 min | 16:9 | stereo | momento! 2003
OV : French, Arabic  ST : French, English
ISBN : 2-915683-03-4

14 €Price for Individuals


POPULATIONS IN DANGER
Burundi/Rwanda/Afghanistan/Bosnia 
A film by Eyal Sivan & Alexis Cordesse
Documentary | 1997 | 4 X 13 mn | B/W | 16:9 | OVST


A view of the event through the people whose life is History, and a new outlook on "humanitarian photography".
This series was made in partnership with Doctors without Borders.


Itsembatsemba, Rwanda One Genocide Later
The genocide in Rwanda (Itsembatsemba) took place amongst general indifference. On the 6th April 1994, a fury of purification swept the country. Within one hundred days, soldiers and militiamen (Interhamwe) massacred at least 700,000 Tutsis. These images were taken two years after the genocide, in April 1996. The sound track comes from Radio Télévision Mille Collines (Thousand Hills Free Broadcasting) - RTLM - and dates from April to June 1994. RTLM began to transmit in 1991 with the help of the regime and played a key role in the unleashing and the co-ordination of the killing.



Burundi, Under Terror
Burundi, 21st October 1993: the democratically elected President N’Dadaye is assassinated by a group of Tutsi officers. Another round of reprisals and counter-attacks begins under pressure from the militia and extremist parties who encourage the racial hostilities and fan the flames of terror. There is one pogrom after another, with tens of thousands of people becoming refugees in their own country. 



Foca, Absolut Serbia
In April 1992, war broke out in Bosnia-Herzegovina. With help from the Yugoslavian army, the Bosnian-Serb militia seized two thirds of the territory, carrying out a campaign of terror against the Muslims and the Croats. This film was made in Foca, five years after the town was taken over by the Serb nationalists. The soundtrack is made up of interviews with the local population and of excerpts from the charges brought against the eight members of the local militia. There are no Muslims or Croats left in Foca at all, and the town is called Srebjne.



Kaboul, A Weary War
After ten years of russian occupation and three years of fighting against the pro-communist regime of Najibullah, in April 1992, Kabul fell into the hands of the Mujahadins. The Afghan capital, perviously spared, then became the scene of bloody fighting between rival groups of militia. The images used to make this film were taken in january and february 1995, when the capital was under siege.




«

On Itsembatsemba, Rwanda One Genocide Later:
Diverting the tone and format of the TV report, Eyal Sivan is pursuing his reflection on the representation of genocide and the political use of memory.
Connaissance des Arts

» 

Download the full press kit in PDF format at download media

AWARDS
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------

GOLDEN GATE AWARD
     San Fransisco International Film Festival, 1997

MENTION SPÉCIALE
     Festival international du film documentaire et court-métrages de Bilbao, 1997


FESTIVALS SELECTION
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------
     Itsembatsemba, Rwanda One Genocide Later

 Documenta XI, Cassel, 2002
 Internationale Kurzfilmtage Oberhausen, 2003
 International Human Rights Film Festival, Ramallah-Tel-Aviv, 2000
 Amnesty International Film Festival, Amsterdam, 1998
 Rencontres Cinématographiques de Seine St Denis, Résistance, 1998
 Human Rights Watch International Film Festival, 1997
 Festival Cinéma du Réel, Paris, 1997
 International Documentary Film Festival Amsterdam, 1996 

     Burundi, Under Terror
 Rencontres Cinématographiques de Seine St Denis, Résistance, 1998
 International Documentary Film Festival Amsterdam, 1996 


           

           

© État d'urgence [FR] momento production [FR]  

ITSEMBATSEMBA, RWANDA A GENOCIDE LATER

13 minutes | photo | B/W | 4:3 | stereo | 1996
Location : Rwanda
OV : Kinyarwanda
Sub-titles : French, English
 

A film directed and produced by 
Eyal SIVAN

Assisted by 
Armelle LABORIE
Image and Sound 
Alexis CORDESSE
Photo Prints
Carole DELRIEU
Editor
Michèle COURBOU
Sound Editor & Mix 
Eric LONNEUR
Sound Effects
Nicolas BECKER
Translations
Charles RUBAGUMYA
Written Texts 
Rony BRAUMAN
Sub-titles
Catherine NEUVE-EGLISE
Post-Production
Son pour Son
Etat d’Urgence Productions
Animation
Ercidan
Laboratories 
Mise au Point
Centrimage
Acknowledgments
Benjamin Bleton - Amit Breuer - Annette Gerlach - Céline Laborie
Madeleine Moukamabano - Christophe Picard - Jérôme Wirth Sam Productions
Médecins Sans Frontières - Reporters Sans Frontières - TheoPresse

 

© État d'urgence [FR] momento production [FR]  

BURUNDI, UNDER TERROR 

13 minutes | photo | B/W | 4:3 | stereo | 1996
Location : Burundi
OV : French
Sub-titles : French, English

A film directed and produced by 
Eyal SIVAN

Authors
Eyal Sivan & Alexis Cordesse
Image

Alexis Cordesse
Editor

Audrey Maurion

 

© État d'urgence [FR] momento production [FR]

FOCA, ABSOLUT SERBIA  

13 minutes | photo | B/W | 4:3 | stereo | 1996
Location : Bosnia
OV : Serbo-Croatian, French or English
Sub-titles : French, English

A film directed by
Alexis Cordesse

Authors
Eyal Sivan
Alexis Cordesse
Image

Alexis Cordesse
Sound engineers

Nicolas Becker
Editor

Maya Cypel 

 

© État d'urgence [FR] momento production [FR]

KABOUL, A WEARY WAR

13 minutes | photo | B/W | 4:3 | stereo | 1996
Location : Kaboul
OV : music
Sub-titles : French, English

A film directed by
Alexis Cordesse

Authors
Eyal Sivan
Alexis Cordesse
Image

Alexis Cordesse
Sound Engineers

Nicolas Becker
Editor

Maya Cypel

 

...


On Itsembatsemba, Rwanda One Genocide Later:

Diverting the tone and format of the TV report, Eyal Sivan is
pursuing his reflection on the representation of genocide and
the political use of memoryConnaissance des Arts

This DVD includes :

DVD5 [Multizone]  4 X 13 min | 16:9 | stereo | momento! 2009
OV : French, Serbo-Croatian, Kinyarwanda – ST : French, English
ISBN : 2-915683-13-1

14 €Price for Individuals


ITGABER
He Will Overcome 
A film by Eyal Sivan
Documentary | 1993 | 2 x 85 mn | color | 4:3 | OVST

Yeshayahu Leibowitz, one of Judaism most provocative and controversial minds, an inspiration for the movement of Israeli soldiers who refuse to serve in the Occupied Territories, a person very attached to the divine law, develops his defiant positions vis-à-vis of the law and of authority in general, and of State and government in particular.


Interviews with Professor Leibovitz, in two parts

On science and values
“It is man’s will that makes him Man”. This phrase is the key to the thoughts of one of the most provocative thinkers of the end of this century, and the one that sets the tone for these discussions. Using vocabulary that can be understood by everyone, the philosopher opens himself up with a critical reflexion about what makes Man : his will power, his freedom, what he chooses, the tasks he sets himself, and how by “Triumphing over Oneself”, he goes above the others of this world.

On State and laws
“The honest man should know that he should never respect the law too closely”. Professor Y. Leibovitz, spiritual leader of the Israeli soldiers who refuse to carry out their military national service in the Occupied Territories, who has always been very attached to the notion of divine law, develops, a  provocative position vis-à-vis the state in general, and power in particular. Following the traditions of the Prophetes, his caustic tone makes us think about our responsibilities as human beings and citizens.

 

ABOUT THE FILM

Yeshayahu Leibovitz - An uncompromising man for almost a century

Y. Leibovitz was born in Riga, Lettonia in 1903. He grew up in a rich, orthodox, Zionist, Jewish family. Educated by tutors from an early age, he spoke Hebrew, Yiddish, German, Russian and French. A childhood we can no longer imagine, surrounded by open, profound and refined culture.

In 1919, when he was 16, a civil war opposed Red and White Russians. He emigrated, as did many of his contemporaries, to the young Weimar Republic where the intense intellectual and artistic life seemed highly attractive.

He studied bio-chemistry at the University of Berlin, where no less than five of his Professors were Nobel prize winners. This was also where met his future wife, Greta, who was studying mathematics.

In 1928, he fulfilled a dream and left for Palestine. But he only stayed there for a short period, returning to Berlin to continue his medical studies. He was then obliged to finish these in Switzerland, when the Nazis came to power. Never, he points out, was he subjected to antisemitic discrimination, neither at university, nor in the street.

It was in 1934, that he finally settled in Palestine with his wife Greta. He immediately began teaching neuro-physiology and headed the biochemical department at the Hebrew University in Jerusalem.

In 1948, he took up arms to participate in the creation of the State of Israel, or what he referred to as a “framework of national independence for the Jewish people”. But even at that early stage, he called for the separation of religion and the State, in order to save religious values from the clutches of the politicians. A profoundly religious man, he always supported his non-religious compatriots, who were appalled by attitude of the orthodox Jews.

As soon as the 1967 war was over, he denounced the occupation of Arab territories, which he saw as the introduction of a system for the repression of one people by another. Could the children of Israel be sliding dangerously towards becoming “Jewish-Nazis”?

This sombre, pessimistic and imprecatory man belonged to no particular political movement: “The moral progress of Man does not exist and History is merely the chronicle of man’s crimes, follies, and misfortunes”, and he adds, “if you cannot bear this terrible world, then you should commit suicide…”

Since life’s only meaning is in individual acts: “The most noble part of History, is man’s struggle against crimes, follies and misfortunes. A constant and eternal struggle, with no finality.”

In the 1970’s, he was offered a chair in Philosophy at the Hebrew University.

People came to hear him speak, to talk to him: “Hundreds of people, from all walks in life come to see me, write to me or telephone me. I now realise just to what extent I have become “the voice” of the voiceless, those who either don’t know how, don’t dare, or who cannot express their thoughts and their feelings. They are very happy for me to help them to define these thoughts and feelings. That I know, but I don’t think that anyone has changed their opinions for all of that.”

Yeshayahu Leibovitz welcomes all to his modest home in Jerusalem, at any time of the day or night, all those who want to talk to him: a confused soldier, with problems of conscience, a religious person with doubts about his belief, a person with a drug problem… He also welcomes intellectuals of all outlooks and all nationalities.

His words are clear. He is a powerful speaker, tirelessly giving seminars and conferences, taking part in debates and also tirelessly denouncing. His anger is his strength.

At the time of the invasion of Lebanon, in 1982, during a conference where he was alone on stage, he said: “I ask every honest person here to stand up and declare with me, in a loud and clear voice, that he is a traitor. That he betrays the values that are revered today in this country. I call for an uprising, for a revolt.”

Yeshayahu Leibovitz is never alone. His wife, Greta, supports him in the background. She accompanies him everywhere, she knows all his speeches, and corrects his mistakes.

“The most important thing in a man’s life, is his wife”, he says.

In 1993, his nomination for the Israel Prize, a high distinction, caused general uproar. Yeshayahu Leibovitz refused the prize.

 

He died in August 1994.

 

For 15 years, Professor Leibovitz was responsible for the editing and development of the Hebrew Encyclopaedia for which he wrote a number of articles.

 

Besides a considerable number of scientific works, he has also published several collections of articles, essays and public speeches.

His work includes :

Faith, history and values
The faith of Maïmonide
Conversations about science and its values
Evolution and genetics
Body and soul; the psycho-physical question
Judaism, the Jewish people and the State of Israel

 

«

The film preserves an oratorical art, made of imprecations, brisures, silences and repetitions, peculiar to the subtle and grandiloquent prophets the Jewish people has always had. (...) The cathodic dimension is never lost, Leibowitz is set face to face with previous shootings, through a video - tape recorder. This device attempts to shake up a thought system, as well as tracking itNot fooled but fascinated, this document exasperates and delights.
Télérama

Original because despite of the strong personality of his interlocutor, the director succeed in keeping a loyal distance which doesn't deprive the spectator of his freedom of perception. In front of Eyal Sivan's camera, Yeshahyaou Leibowitz casts many roles : the scientific philosopher delivers the argued fruits of his thoughts and knowledge, the citizen fires against the established order, the interviewed returns the questions to the interviewer and comments it. The whole thing is to be heard and watch with delight.
Différences

Whether you side with Leibowitz' thoughts or feel a fierce hatred towards him, this film instructs and shakes you up. Rare qualities in this day and age.
Journal des lettres et de l'audiovisuel

» 

Télécharger la revue de presse complète au format PDF dans médias à télécharger

 

...


           

           

© Les films d'ici [FR] | Images et Compagnies [FR] | Amythos Films [ISR] | FR3 [FR]

ITGABER

2 X 85 minutes | video | Colour | 4:3 |Stereo | 1993
Location : Israel
OV : Hebrew
Sub-titles : French, English, Italian, Spanish, German

 Author
Eyal Sivan

Director of Photography
Rony Katzenelson
Sound

Amir Buverman
Editing

Eyal Sivan & Charlotte Tourres
Producer

Ruben Korenfeld

 

...



This movie is not available for sale in DVD for private use.

To purchase DVDs for institutions: Libraries & Institutions


AQABAT-JABER [VDP]
Passing Through 
A film by Eyal Sivan
Documentary | 1987 | 81 mn | color | 4:3 | OVST

Aqabat-Jaber is one of the sixty Palestinian refugee camps built in the Middle East by the UN at the beginning of the 1950s. Filmed in 1987, a few months before the Intifada, this film tells the story of a disinherited generation brought up in the nostalgia of places they never knew and which no longer exist. The story of a temporary solution that became a permanent way of life.


Aqabat-Jaber is one of the sixty Palestinian refugee camps built in the Middle East by the UN at the beginning of the 1950s. Filmed in 1987, a few months before the Intifada, this film tells the story of a disinherited generation brought up in the nostalgia of places they never knew and which no longer exist. The story of a temporary solution that became a permanent way of life.

Aqabat-Jaber is one of the sixty Palestinian refugee camps built in the Middle East by the UN at the beginning of the 1950s. It is the biggest camp in the Middle East situated some 3 kilometres south of Jericho. The majority of its 65,000 inhabitants came from those villages in central Palestine that were destroyed in 1948. The 1967 war pushed 95% of that population across the banks of the river Jordan. The traces of war and the effects of erosion by the desert accentuate the contrasts between the abandoned refugees and the huts that they still occupy, and make Aqabat-Jaber look like a ghost town. Filmed in 1987, a few months before the Intifada, this film tells the story of a disinherited generation brought up in the nostalgia of places they never knew and which no longer exist. The story of a temporary solution that became a permanent way of life. This film is about a ghost town, fulfilled by nostalgia and memories.


«

This film goes beyond politics. It is about country people confined for the last 38 years in refugee camps, about the humiliation of being severed from their land, from their orchards, their villages. Nothing happens in the film because nothing happens in their lives. Endlessly waiting, some still cling to the hope of returning one day to their land. It is not a silent film, it cries out in its simplicity, wrenching the heart. These are human beings ?? So, what...?!
Henri Cartier-Bresson

Some refugees welcome the chance to introduce themselves, air their grievances and bemoan their fates ; other scorn the filmmakers. Sivan, ever sympathetic to their conditions, extracts detailed life stories from the displaced persons as he pans the daily life at the camps.
Variety

Aqabat-Jaber offers a poetic vision of homelessness a permanent state of mind.  Poignancy merges with absurdity, turning the makeshift life into a kind of grotesque purgatory, a sad dreamland.
The Boston Phoenix

Aqabat-jaber is a definite highlight. It's a sad and troubling look at a decrepit West Bank refugee camp where Palestinians, many displaced landowners living in exile, talk about their lives and their hopes of regaining their land. For many of these refugees, some there since 1948, the land is a symbol of lost culture and lost self-respect.
Boston Herald

Aqabat-Jaber  by Eyal Sivan, winner of cinéma du réel 1987, is a very powerful testimony on uprooted people of all origins.
Libération

There is, in Eyal Sivan's film, the acute awareness of the camera's gaze in everyone that is filmed.
Cahiers du Cinéma

A movie beyond the politics, since here scorned people are dignified and proud.
Positif

» 

Download the full press kit in a PDF format at download media

AWARDS
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------

GRAND PRIX "CINÉMA DU RÉEL"
    Paris, 1987

GOLDEN CROWN, Festikon
    Amsterdam, 1988

 AIR FRANCE & RADIO FRANCE AWARD, Festival du Film de Belfort
    1988

BEST SOCIO-POLITICAL DOCUMENTARY, International Film Festival
    Oakland, 1987

JURY'S SPECIAL MENTION, Internationale Filmwoche
    Mannheim, 1988

           

           

© Dune Vision [FR] 1987 – © momento production [FR] 1994

AQABAT-JABER, PASSING THROUGH

86 minutes 16 mm colour 4:3 Stereo 1987
Location : Palestine

OV : Arabic
Sub-titles : English, French, Spanish

A film by
Eyal Sivan

Production
Dune Vision
Executive Producer

Thibaut de Corday
Based on the original idea of

Eyal Sivan and Noa Gedy
Camera

Nurith Aviv
Assisted by 

Claire Bailly du Bois

2nd
 camera
Raymond Grosjean
Sound

Rémy Atta
Assisted by

Philippe Garnier
Assistant Director / interpreter

Mohamed Diab
2nd Assistant

Noa Gedy.
Production Coordinator

Philippa Benson
Production Manager

Thibaut de Corday
Stills

Eric Bouvet / Gamma
Editor

Ruth Schell
Sound Editor

Véronique Lange
Mix

Patrick Ghislain
Translations

Sylvana Kattar

 

...



This movie is not available for sale in DVD for private use.

To purchase DVDs for institutions: Libraries & Institutions


AQABAT-JABER [PSR]
Peace with No Return? 
A film by Eyal Sivan
Documentary | 1995 | 61 mn | color | 4:3 | OVST


Aqabat-Jaber is a Palestinian refugee camp built nearly fifty years ago just outside Jericho. Today, the camp’s 3,000 inhabitants live under Palestinian autonomy, but paradoxically their status has not changed, they are still refugees.


Can peace between Israel and Palestine be possible without the return of the Palestinian refugees to their homeland which has now become Israel ? Does the return - either physical or symbolic - of people that suffered an injustice in 1948 when the state of Israel was created have to take place.

Having made "Aqabat Jaber, passing through" just before the Intifada, Eyal Sivan returns to a refugee camp the day after the evacuation of the region by the Israeli army. A few kilometres from Jericho and built 50 years ago, Aqabat-Jaber is a refugee camp that is under Palestinian control today. Its 3,000 inhabitants have not however seen their status change. According to the peace treaty, they are still refugees and cannot go back to the villages from which their parents fled. The return home of the refugees, right at the heart of the Israelo-Palestine conflict, will determine the future of the Middle East.

This film, which hopes to be analogical, tells the story of the Palestinian refugees, like all refugees, deported populations, displaced persons, that are the centre of the great conflicts of the 20th century.

«

A strong testimony about the uprooted from everywhere (...) A beautifull sobriety cleared out from the usual conventional speach.
Libération

Eyal Sivan continues his relentless and disturbing work, from film to film, investigating thre true nature of his native country. Any study of memory, of history, of values, of the myths of Israel confronted with reality, depends, of course, and perhaps above all, for Eyal Sivan on getting to know your opponent. In this case, the enemy / partner over the last 50 years, the palestinian people.
Le Nouvel Observateur

From this honest and authentic film, that hauls out poetry from poerty the depths of despair, we understand that the Prophet stopped in Aqabat Jaber, this metaphor of the palestinian deadlock.
Télérama

» 

Download the full press kit in PDF format at download media

 

...


           

           

© momento production [FR] | Amythos [ISR] | la Sept ARTE [FR]

AQABAT-JABER, PEACE WITH NO RETURN?

61 minutes | 16 mm | color | 4:3 | 1995
Location : Palestine

OV : Arabic
Sub-titles : French, English, Spanish

A film by
Eyal Sivan

Producer
Armelle Laborie
Cinematographer

Nurith Aviv
Sound

Rémy Attal
Editor

Sylvie Pontoizeau

 

...



This movie is not available for sale in DVD for private use.

To purchase DVDs for institutions: Libraries & Institutions


AU SOMMET DE LA DESCENTE
 
A film by Eyal Sivan
fiction | 2001 | 33 mn | color | 4:3 | OV FR


Twenty-four hours in the life of a manic-depressive, going through a manic phase. Jackie Berroyer plays a patient out of treatment, facing an excitement period where the disorganization of his mental faculties echos in his social life.


 

Twenty-four hours in the life of a manic-depressive, going through a manic phase.

 

This movie, made at the request of the psychiatrist Christian Gay (St. Anne's Hospital), was originally intended for people affected by manic-depressive illness, also called bipolar disorder. While many documentaries and fiction films have been devoted to the depressive phase, this movie tackles the mania side (excitement phase). Jackie Berroyer plays a patient out of treatment, facing an excitement period where the disorganization of his mental faculties echos in his social life.



 

...


AWARDS
-------------------------------------------------------------------------------------------------------------------------------------

GRAND PRIX DE LA COMMUNICATION MÉDICALE, Festival de la communication médicale
    Deauville, 2001

GRAND PRIX DU FILM MÉDICAL
    Paris, 2001

           

           

© momento production

AU SOMMET DE LA DESCENTE
33 minutes
| Video | Colour | 4:3 | stereo | 2001
OV : French

With
Jackie Berroyer, Sophie-Hélène Château, Momo Azzouz, Abdel Belkhodja,
Mathias Bahuon, Jérémie Korenfeld, Camille Gay, Nathalie Dival, Julia Gay, Michel Boudin,
Gérard Salaberry, Marie-Odile Fanet, Nathalie Ganier-Raymond, Jean Gasnault,
Dr Christian Gay

A film by
Eyal Sivan

Production
Armelle Laborie
Script

Eyal Sivan and Armelle Laborie
with the collaboration of
Dr Christian Gay
Camera

Denis Larrue
Sound

Nathalie Vidal
Script girl

Nadia Chettab
Electrician-machine operator
Kamel Belaïd
Art and accessories
Anne-Marie Faux
Editor
Audrey Maurion
Sound editor
Coline Beuvelet
Mix
George Laffitte

 

 

...



This movie is not available for sale in DVD for private use.

To purchase DVDs for institutions: Libraries & Institutions


BURUNDI
Under Terror 
A film by Eyal Sivan
Documentary | 1996 | 13 mn | B/W | 16:9 | OVST



Burundi, 21st October 1993: the democratically elected President N’Dadaye is assassinated by a group of Tutsi officers.


Burundi21st October 1993: the democratically elected President N’Dadaye is assassinated by a group of Tutsi officers. 
Another round of reprisals and counter-attacks begins under pressure from the militia and extremist parties who encourage the racial hostilities and fan the flames of terror. There is one pogrom after another, with tens of thousands of people becoming refugees in their own country.


 

...


FESTIVALS SELECTION
----------------------------------------------------------------------------------------------------------------------------------------------------------------------- 
Rencontres Cinématographiques de Seine St Denis, Résistance, 1998
International Documentary Film Festival Amsterdam, 1996

 

           

           

© État d'urgence [FR] momento production [FR]  

BURUNDI, UNDER TERROR 

13 minutes | photo | B/W | 4:3 | stereo | 1996
Location : Burundi
OV : French
Sub-titles : French, English

A film directed and produced by 
Eyal SIVAN

Auteurs
Eyal Sivan & Alexis Cordesse
Photographe

Alexis Cordesse
Editor

Audrey Maurion

 

...



This movie is not available for sale in DVD for private use.

To purchase DVDs for institutions: Libraries & Institutions


FOCA
Absolut Serbia 
A film by Alexis Cordesse
Documentary | 1997 | 13 mn | B/W | 16:9 | OVST


In April 1992, war broke out in Bosnia-Herzegovina. With help from the Yugoslavian army, the Bosniac-Serb militia seized two thirds of the territory, carrying out a campaign of terror against the Muslims and the Croats.


In April 1992, war broke out in Bosnia-Herzegovina. With help from the Yugoslavian army, the Bosniac-Serb militia seized two thirds of the territory, carrying out a campaign of terror against the Muslims and the Croats. This film was made in Foca, five years after the town was taken over by the Serb nationalists. The soundtrack is made up of interviews with the local population and of excerpts from the charges brought against the eight members of the local militia. There are no Muslims or Croats left in Foca at all, and the town is called Srebjne.


 

...


 

...


           

           

© État d'urgence [FR] momento production [FR]

FOCA, ABSOLUT SERBIA  

13 minutes | photo | B/W | 4:3 | stereo | 1996
Location : Bosnia
OV : Serbo-Croatian, French or English
Sub-titles : French, English

A film directed by
Alexis Cordesse

Auteurs
Eyal Sivan
Alexis Cordesse
Photographe

Alexis Cordesse
Sound

Nicolas Becker
Editor

Maya Cypel

 

...



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HOT HOUSE
 
A film by Shimon Dotan
Documentary | 2006 | 90 mn | color | 16:9 | OVST

More than 10,000 Palestinians are imprisoned in Israeli jails today. They are called Security Prisoners. Israeli director Shimon Dotan takes us through the halls of this space which is reserved for maximum security detainees. This movie reveals their contact with Palestinian politics and how they get organized around it, all while imprisoned. 


More than 10,000 Palestinians are imprisoned in Israeli jails today. They are called Security Prisoners.
For most Israelis they are assassins and criminals. For most Palestinians they are heroes and freedom fighters.


Hot House is a documentary-feature that explores the emergence of Palestinian national leadership in Israeli prisons in light of the elections to the Palestinian Parliament. The film provides a unique opportunity to observe events of historic proportions at their nascent. It exposes the cycle of violence, the evolution of a conflict characterized by vast asymmetry in balance of power and the ethics of war.

 

...


AWARDS
-------------------------------------------------------------------------------------------------------------------------------------
 
SUNDANCE FILM FESTIVAL, Jury's Special Prize
    World Cinema-Documentary,
2007


FESTIVALS SELECTION
------------------------------------------------------------------------------------------------------------------------------------- 
Human Rights Watch International Film Festival, London, 2007
3rd Santa Barbara Human Rights Film Festival, 2008
HotDocs, Canada, 2007
 Rotterdam, Hollande, 2007
 Human Rights Watch International Film Festival, New York, 2007
 Human Rights Watch International Film Festival, Chicago, 2007

           

           

© ALMA FILMS [ISR] TALISMA PRODUCTIONS [ISR] MEIMAD BARKAI PRODUCTIONS [ISR] CINEQUEST FILMS [CAN] ARTE [FR]

HOT HOUSE
90 minutes | Video | Colour | 16:9 | Stereo | 2006
Location : Israel, Palestine

OV : Arabic, Hebrew
Sub-titles : French, English

Author
Shimon Dotan

Production
Arik Berbstein
Jonathan Aroch
Dikla Barkal
Shimon Dotan
Image

Shai Goldman
Hanna Abu-Sana
Editor

Ayala Bengad
Music

Ron Klein

 

www.alma-films.com


This movie is not available for sale in DVD for private use.

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ISRALAND
 
A film by Eyal Sivan
Documentary | 1991 | 58 mn | color | 4:3 | OVST

During the Gulf war, 10 km from Tel-Aviv as bombs are dropping on the city, a Luna park called Israland is being built. The film tells the story of a few of the characters (israelians, palestinians and germans) taking part in the construction of the site. Their only common denominator is their work : the building of the Luna park where hatred is omnipresent.


During the Gulf war, 10 km from Tel-Aviv as bombs are dropping on the city, a Luna park called Israland is being built.
The film tells the story of a few of the characters taking part in the construction of the site : an Israeli mechanical digger driver, two Palestinian workmen, a German architect and sculptor and a Jewish real estate developer from Georgia. Their only common denominator is their work : the building of the Luna park where hatred is omnipresent.


Israland is the provisional name of a huge project south of Tel-Aviv in Israel. The film of the same name was shot on the project construction site during the Gulf War.

Israland is a mosaic of several opposing characters. Their only point in common is their workplace – the construction site.

Joseph, the night watchman sits on a pile of sand, listens and comments the news on the radio.

"There are more accidents than wars... We are not afraid..."

Avi, an Israeli machine operator, speaks of war and of hatred, he doesn't have any contact with the Arabs on the construction site.

"I realized we had to do our best for our country, try to build it ourselves, without the Arabs. They mustn't do anything. They should stay at home."

Abou Khadit and Abou Ramzi, Palestinian workmen, talk about their schedules and the hatred of Israelis.

"...Often after a day on the job site, I go back to find my home full of tear gas..."

"...The Jewish workman can do nothing for me since we're in the same boat, he too must work for a living, and so it's not his place to defend my rights."

Guershom, the architect, a German who converted to Judaism and became Israeli, designs sculptures and analyzes the situation as if he was not really a part of reality.

"This entire country is a vast amusement park, American style. As long as we continue to mess about, to want to emulate America, as long as we make no effort to be a part of the Middle East and completely fit in, it will be a catastrophe."

Khamis, the Palestinian worker, is busy constructing metal sculptures in the shape of flowers.

"...This rose is firmly rooted in the earth, deeper than the others. And another thing : Every time a petal is torn loose, others appear, more solid than its predecessors. One day the wind will no longer break the petals and our rose  will come to the sunlight like all the other flowers planted in this place..."

And Abraham the promotor, a carefree man, a Georgian multi-millionaire, who dreamed this project. An amusement Park, in the American style, called Israland.

"We're building a paradise on earth here, and believe me, I'll go to heaven for building this paradise...We put here everything that's supposed to be in heaven. Flowers, gardens, landscapes, that's paradise. We're doing this, we're building it in this world already. In the American style... maybe not... I would love people to say “In Israeli style”, Israel, it is not worse than America."

Le film Israland is a surreal metaphor on Israel or "Israel-Land", an enclave country; western enclave in the heart of the Middle East.

Le film is over, the construction is too. It opened after the war, under the name SUPERLAND.


«

An uncompromising and surrealistic metaphor.
Le Monde

Poem of real sources, Israland is a work of deep humanity.
L'Humanité Dimanche

A pleasant movie which shows with humour and lightness the dramatic and explosive reality of Israel. A philosophical and surrealist tale.
Télérama

» 

Download the full press kit in a PDF format at download media

 

...


           

           

© IMA Productions [FR] l FR3 [FR] l État d’Urgence Production [FR]

ISRALAND

58 minutes | Video | Colour | 4:3 | Stereo | 1991
Israel, Palestine
OV : Hebrew & Arabic
Sub-titles : French, Spanish

A film by
Eyal Sivan

With the participation of
Gershom von Chwarz, Israeli machine operator

Avi Metodi, Israeli machine operator
Abou Khadit, Palestinian workman
Joseph, night watchman
Khamis, Palestinian workman

Producer
Edgar Tenembaum
Author

Eyal Sivan
Cinematographer

Emmanuel Kadosh
Sound

Elie Taragan
Editor

Sylvie Pontoizeau

 

...



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ITSEMBATSEMBA
Rwanda, One Genocide Later 
A film by Eyal Sivan
Documentary | 1997 | 13 mn | B/W | 16:9 | OVST


The genocide in Rwanda (Itsembatsemba) took place amongst general indifference. On the 6th April 1994, a fury of purification swept the country. Within one hundred days, soldiers and militiamen (Interhamwe) massacred at least 700,000 Tutsis.


The genocide in Rwanda (Itsembatsemba) took place amongst general indifference. On the 6th April 1994, a fury of purification swept the country. Within one hundred days, soldiers and militiamen (Interhamwe) massacred at least 700,000 Tutsis. These images were taken two years after the genocide, in April 1996. The sound track comes from Radio Télévision Mille Collines (Thousand Hills Free Broadcasting) - RTLM - and dates from April to June 1994. RTLM began to transmit in 1991 with the help of the regime and played a key role in the unleashing and the coordination of the killing.


«

Diverting the tone and format of the TV report, Eyal Sivan is pursuing his reflection on the representation of genocide and the political use of memory.
Connaissance des Arts

» 

Download the full press kit in a PDF format at download media

AWARDS
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------

 
 GOLDEN GATE AWARD
     San Fransisco International Film Festival, 1997


FESTIVALS SELECTION
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------
 Documenta XI, Cassel, 2002
 Internationale Kurzfilmtage Oberhausen, 2003
 International Human Rights Film Festival, Ramallah-Tel-Aviv, 2000
 Amnesty International Film Festival, Amsterdam, 1998
 Rencontres Cinématographiques de Seine St Denis, Résistance, 1998
 Human Rights Watch International Film Festival, 1997
 Festival Cinéma du Réel, Paris, 1997
 International Documentary Film Festival Amsterdam, 1996

           

           

© État d'urgence [FR] momento production [FR]  

ITSEMBATSEMBA, RWANDA A GENOCIDE LATER

13 minutes | photo | B/W | 4:3 | stereo | 1996
Location : Rwanda
OV : Kinyarwanda
Sub-titles : French, English
 

A film directed and produced by 
Eyal SIVAN

Assisted by 
Armelle LABORIE
Images and Sound 
Alexis CORDESSE
Photo Prints
Carole DELRIEU
Editor
Michèle COURBOU
Sound Editor and Mix 
Eric LONNEUR
Sound Effects
Nicolas BECKER
Translations
Charles RUBAGUMYA
Written texts
Rony BRAUMAN
Sub-titles
Catherine NEUVE-EGLISE
Post-Production
Son pour Son
Etat d’Urgence Productions
Animation Stands
Ercidan
Laboratories
Mise au Point
Centrimage
Acknowledgments
Benjamin Bleton - Amit Breuer - Annette Gerlach - Céline Laborie
Madeleine Moukamabano - Christophe Picard - Jérôme Wirth Sam Productions
Médecins Sans Frontières - Reporters Sans Frontières - TheoPresse

 

...



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JERUSALEM(S)
Borderline Syndrome 
A film by Eyal Sivan
Documentary-Fiction | 1994 | 64 mn | color | 16:9 | OVST

At the beginning of this century, a particular form of hysteria was discovered, known as “Jerusalem Fever”, which affected pilgrims visiting the Holy City. A camera wanders in Jerusalem in search of a new approach. Late at night, a child wanders through the streets of Jerusalem in search of the woman with golden breasts that once glimpsed.


This iconoclastic film, midway between fiction and documentary, explores the "over-sacred" side of Jerusalem. A political gamble for its inhabitants, a myth for its visitors, Jerusalem remains a universal object of desire that borders on fetishism. The film takes its inspiration from the Jerusalem Syndrome, a psychiatric syndrome, officially recognised in the 19th century, and from which the pilgrims and tourists that visited the Holy City suffered. A camera visits Jerusalem looking for a new approach to show the city. In parallel a young boy wanders the streets and discovers one night a prostitute with golden breasts. The boy, as does the camera, becomes a victim of a violently feminine Jerusalem.

ABOUT THE FILM

At the beginning of this century, a particular form of hysteria was discovered, known as “Jerusalem Fever”, which affected pilgrims visiting the Holy City. This syndrome is perhaps one of the city’s underlying truths.

Jerusalem(s) Borderline Syndrome, analyses the often irrational relationship that men and women sometimes have with an object, an image or a symbol. Late at night, a child wanders through the streets of Jerusalem in search of the woman with golden breasts that once glimpsed.

In parallel, the camera, a character in its own right, investigates the daily reality of this divided city. It runs into invisible borders and, from fear of filming things that have already been filmed a thousand times, tries, without really succeeding, to escape the Jerusalem syndrome.

The Jerusalem Syndrome: a psychiatric syndrome, officially recognised in the 19th century, and from which the pilgrims and tourists that visited the Holy City suffered.

This iconoclastic film, midway betwen fiction and documentary, explores the "over-sacred" side of Jerusalem. A political gamble for its inhabitants, a myth for its visitors, Jerusalem remains the universal object of desire that borders on fetichism.

A camera visits Jerusalem looking for a new approach and in paralell a young boy wanders the streets and discovers one night a prostitute with golden breasts.

The boy, as does the camera, become victims of a violently feminine Jerusalem...


Some notes about the film... based on a text by Dan Dulberger

Every war imbues certain objects, signs or places with an importance not necessarily proportional to their primary strategic value. Having thus been imbued, such fetishes then serve as irrational reservoirs of attraction, obsession, and the inevitable clash between generations of conflicting parties.

Jerusalem is (since it has always been part of people’s fantasy) the fetish of the conflict between the European and Middle Eastern cultures. As the tension between the Muslim and the (now Judeo)-Christian worlds re-surfaces, the Jerusalem fetish is expected to reaffirm its archetypal influence on the antagonists’ sense of identity, purpose and mutual difference.

The Jerusalem fetish consists of a dome, a wall and a sepulchre. Within these competing architectures is embodied the perpetuation of their self-differentiation through the infantile fantasy of possessing something all to oneselfJerusalem itself has faded into insignificance behind the icons of a much disputed prize.

In this context, a documentary film about Jerusalem is, by definition, impossible. Aiming for an “authentic” image, in an existentialist sense, of whatever Jerusalem(s) “there” may be “out there”, the film finds itself confronted with manufactured images. All that remains to be done, is to render a picture of a pictureNot being able to penetrate the thick gloss of the image, we lose sight of the distinction between image and reality. One’s vision is constrained by the pre-existing image.

Since it is confronted from the start with a fetishist image, not with a reality to be imagined, all the camera can do is de-compose and de-fetishise it. All the freedom it has in such a situation derives from the act of taking the image apart, de-processing it back into the chaotic, primeval, fleeting stimulus.

It is a liberation of reality from the tyranny of the politicised image.

Jerusalem(s), Borderline Syndrome represents this effort.

The Jerusalem archetype is feminine, maternal - the dome is a breast. There is a constant rape of the symbol. The myriad offspring of Jerusalem the whore, come to convince her with their flattery that she should recognise each of them as her only son. But no-one is the only son. She has many. The living are of no importance to her. Jerusalem is a necrocracy. A city of the dead. The place of legitimate irrational resurrection for both religions.

The dual image - east-west - has actually taken over its referent. It is impossible today to form an impression of the city independently from this dual image. The image totally controls the field of vision of this city. It camouflages the city itself. Scratch the golden painted surface and you will discover its invisibility.


"JERUSALEM(S)” by Eyal Sivan

"A totally new atmosphere currently reigns over Jerusalem. For the first time in its bloody history, the City will perhaps soon live up to its mythical, and previously fictitious, name of “Jerusalem, City of Peace”. The politics surrounding the City may be no longer impede our vision. Today, just as everything suggests that the City will at last regain a peaceful existence, I want her to explain the mysterious adoration she enjoys.

More than a physical entity, Jerusalem is often perceived as a concept. Any talk about the city, any observation about the place becomes a way of appropriating it. But the city, like a teasingly seductive woman, shies away from those who would possess her. A visitor passing through may leave with a sense of satisfaction, perhaps due to the illusion of having fulfilled a fantasy. But the city’s inhabitants, who do not perceive it as a vast site of worship, are consciously frustrated. In the shadow of the myth, in the largest living museum of all time, it is very difficult for them to maintain their human dimension. Passionate, they sometimes prefer self-exile rather than to suffer this one-way love affair.

This is why I left Jerusalem, ten years ago.

Today, I return to the city of my childhood, my youth. The city that I left at the first opportunity. Scenery that I left without looking back. Places that I left without remorse. Abandoned memories. Forgotten friends.

This is the fulfilment of a fantasy, an act made possible only through film.

Jerusalem can tell her own story about the irrational love that mankind has for her, through archive footage, and present day film. Jerusalem is like a woman lying on a psychiatrist’s couch.

Seized with fear of filming over-cliched images, the camera tries hard, right up to the last scene, to fight the destiny that draws it irresistibly towards the couch.

Showing one’s home city, when it is a city like Jerusalem, not that there can be another like it, is to show an object of adoration and worship. Neither a tourist film, nor an historical presentation, nor a political investigation, rather a film made with the City as its starting point. The memory of how I saw the City as a child living there, a view neither too close, nor too distant, neither too hot nor too cold, not cynical, a film with a light sense of humour. The current research of an adult against the grain.

From East to West, she is observed. The whole world is in her possession. Her photo, as that of a lost wife or mother, hangs on walls, all over the world.

She had three lovers. The first took his son to slaughter; she kept her silence, in complicity. The second was tortured, crucified, she was stained by his blood; she remained imperturbable. The third left her on a white horse, he rose to heaven; and then her breasts were painted gold.

Three sons, of an unknown, unseen and indescribable yet ever present father, identified her as their mother.

“How did you become a whore, you the city of faith, home to thieves and murderers?” lamented the prophet Isaiah. King Solomon, who wrote The Song of Songs, admired her good looks. She has been in constant transformation, calm and golden, proud and solitary, seventeen times raped, twenty times ravaged, then rebuilt, dressed anew, ever more imposing, more beautiful, more courted. “Let us conquer her”, vaunted the Crusaders, “It is on her, in possessing her, that we shall find our deliverance.”

I saw it.

One day, at the corner of a narrow alley, through a barred window, in a vaulted room, a body was sprawled on the bed, the abused body hidden under layers of once sumptuous make-up, a large lady with golden breasts.

To think of yet another film about this place, about this geographic area, about this landscape, about this city, that perhaps exists only on postcards. To think that it is possible to add another image of this, the city of all clichés. An awesome project.

Jerusalem, city of historical symbols, city of the mad, city of the kitsch, necropolis of all passions. I return to Jerusalem to find my way, to find the view which, I hope, will take me to this woman, to shatter an illusion of my childhood.
Or perhaps not.”

Eyal Sivan, Paris, 1994

 «

A violence and a tension indicate us our presence in Jerusalem.
Nouvel Observateur

An ironical metaphore about a town overcome with a mad destiny.
Le Monde

The harshness of Eyal Sivan' eyes will give the shivers to more than one. His portrait of love and hatred, between attraction and repulsion, is worth a watch, if only because he takes the liberty of raising against the spiritually correct cliché of "holy city".
Tribune Juive

» 

Download full press kit in PDF format at download media

 

...


           

           

© La Sept ARTE [FR] l momento! l AMYTHOS [FR]

JERUSALEM(S), BORDERLINE SYNDROME

65 minutes | 16 mm | Colour | 4:3 | Stereo | 1994
OV : Hebrew & Arabic
Sub-titles : French, English, Spanish

A FILM WRITTEN AND DIRECTED BY
Eyal SIVAN

WITH
Dan DULBERGER
Amalia SAND
AND

Izak KONFINO
Shay LAUFER

IMAGE
Nurith AVIV
SOUND

Rémy ATTAL
EDITOR

Sylvie PONTOIZEAU
PRODUCTION MANAGER

Karin SIVAN
EXECUTIVE PRODUCER

Eyal SIVAN
ASSISTED BY
Armelle LABORIE
CAMERA ASSISTANT

Sophie CADET
GAFFER

Avi AVNAEEM
ASSISTED BY

Yuval GALRON
GRIP

Noam IZENBERG
ASSISTED BY

Ronen NEAMAN
2nd SOUND

Amir BUVERMAN
ART DIRECTOR

Judie LOMS
ASSISTED BY
Tom AZEN
MAKE UP
Déborah SHILO
SET PRODUCTION

Anat ASSULIN
Avi GALANTY
COORDINATION

Dany (Nokio) VERETÉ
Georges KHLEIFI
EDITING ASSISTANTS

Sylvie ADNIN
Jeanne MOUTARD
TRAINY

Maya CYPEL
ASSOCIATE
 PRODUCER
Amit BREUER
PRODUCTION CONSULTANT

Michel KHLEIFI
PRODUCTION
 ASSISTANT
Alice BOUCHER

AKNOWLEDGMENTS
Anwar ABU EISHEH - Dr Pierrette ANTONA - Luc BÉRANGER - Ruth BNIEL - Tomas ORLOWSKI - Elias SANBAR - Billy SEGAL - Philippe VERRIÈRE - Centre de Santé Mentale KFAR SHAUL - Salles Mondial Renaissance - Haute Autorité pour les Antiquités.

TEXTS
THE BIBLE
« AL-QUDS » by FAYROUZ
POEM BY Moudafar AL-NAWAB

ARCHIVES
IBA Israeli Television
AL-QUDS Television Production
OLP Culture Department

WITH THE PARTICIPATION OF
CENTRE NATIONAL DE LA CINÉMATOGRAPHIE
STOCK

KODAK
BASF

LABORATOTY
RANK FILM LABORATORIES
RENT MATERIAL
PRAXIMAGE
ON AIR
POST-PRODUCTION

SON POUR SON

 

...



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KABOUL
A Weary War 
A film by Alexis Cordesse
Documentary | 1997 | 13 mn | B/W | 16:9 | OVST



After ten years of russian occupation and three years of fighting against the pro-communist regime of Najibullah, in April 1992, Kabul fell into the hands of the Mujahadins.


After ten years of russian occupation and three years of fighting against the pro-communist regime of Najibullah, in April 1992, Kabul fell into the hands of the Mujahadins.
The Afghan capital, perviously spared, then became the scene of bloody fighting between rival groups of militia.
The images used to make this film were taken in january and february 1995, when the capital was under siege.



 

...


 

...


           

           

© État d'urgence [FR] momento production [FR]

KABOUL, A WEARY WAR

13 minutes | photo | B/W | 4:3 | stereo | 1996
Location : Kaboul
OV : music
Sub-titles : French, English

A film directed by
Alexis Cordesse

Authors
Eyal Sivan
Alexis Cordesse
Image

Alexis Cordesse
Sound Engineers

Nicolas Becker
Editor

Maya Cypel

 

...



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RALLIéS
 
A film by Adila Bennedjaï-Zou & Joseph Confavreux
Documentary | 2002 | 52 mn | color | 16:9 | OV FR


This film tells the stories of Albert, Ahmed and Miloud, three members of the expeditionary French army corps who, during Indochina war, deserted their posts in the French army, as to rally to the Vietminh.


The stories of Albert, Ahmed and Miloud, three members of the expeditionary French army corps who, during Indochina war, deserted their posts in the French army, as to rally to the Vietminh.

They tell us their departure from France and Morocco to the Indochina, the reasons of their difficult choice to leave French army, then their life in the Vietnam hills and the long exile, which followed. Today back to France and Morocco, they finally break the silence that shrouded their lives in mystery.

 

...


AWARDS
-------------------------------------------------------------------------------------------------------------------------------------

1st Prize, History Film Festival
     Pessac2003

Grant “ Brouillon d’un rêve ” of the SCAM
Best Script for a history documentary, Festival de Blois


FESTIVALS SELECTION
-------------------------------------------------------------------------------------------------------------------------------------
 États généraux du documentaire de Lussas, 2003

 

           

           

© momento production [FR]

RALLIÉS

52 minutes | video | colour | 16:9 | stereo | 2002
Location : archives. France, Marocco
OV : French, Arabic
Sub-titles : French, English

Directors 
Adila Bennedjaï-Zou

Joseph Confavreux

With
Albert
Miloud
Ahmed
Pierre-Alban
Colonel Jacques Allaire

And the voice of
Garance Clavel

Editor
Odile Bonis
Image

Hervé Kern
Sound

Olivier Cuinat
Archives Consultant

Patrick Jeudy
Special Effects

David Bouhsira
Colour Grading

Valérie Grenier
Mix

Christophe Brajdic
Assisted by 
Bruno Brochier
Production Manager

Pierre Marchand
Original Music

Gilles Lavanant
Graphics

David Enon
Executive Producers

Armelle Laborie
Eyal Sivan
Production Consultant

Ruben Korenfeld
Archives

Films de propagande vietnamiens
Collections privées
NARA

MUSIC

Quand un soldat
Written by : Francis Lemarque / Performed by : Yves Montand / Editions Métropolitaines
Marie Dominique

Performed by : Laure Diana / Editions Maisonneuve et Larose
Les Africains

Performed by : Bordas / Editions Maisonneuve et Larose
Sidi H’bibi

Performed by : Bellemou / Editions Cléopâtre-Ounassar
Varsovienne

Performed by : Chœurs de l’armée rouge / Editions Mémoire
Varsovienne

Performed by : Pierre Migennes / Editions Chants du Monde
Ashwa

Performed by : Gilles Atlas
Warsovienne

Performed by : Gilles Lavanant
Petit Soldat

Performed by : Gilles Lavanant
Indochine année zéro

Performed by : Gilles Lavanant

Rights Reserved

Acknowledgments 
Nelcya Delannoë
Alain Ruscio
Henri Martin
Pierre-André Boutang
Jacques Doyon
Stéphane Correa et l’association Victarine
Toute l’équipe de Pleine Lune
Marysette Moisset
Maître Serge Binn
Georges Gavelle
Luis et l’équipe de GL Pipa

And
France, Patrick, Marine et Lucas
Toute la famille Essahli
Toute la famille Charlon
Et Jérôme Huguet

With the Participation of
Centre National de la Cinématographie

 

...



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500 DUNAM ON THE MOON
 
A film by Rachel Leah Jones
Documentary | 2002 | 47 mn | color | 16:9 | OVST


500 Dunam on the Moon is a documentary about the Palestinian village of Ayn Hawd which was captured and depopulated by Israeli forces in the 1948 war and subsequently transformed into a Jewish artist's colony and renamed Ein Hod.


500 Dunam on the Moon is a documentary about the Palestinian village of Ayn Hawd which was captured and depopulated by Israeli forces in the 1948 war and subsequently transformed into a Jewish artist's colony and renamed Ein Hod.
It tells the story of the village's original inhabitants who, after expulsion, settled only 1.5 kilometers away in the outlying hills. Since Israeli law prevents Palestinian refugees from returning to their homes, the refugees of Ayn Hawd established a new village: “Ayn Hawd al-Jadida” (The New Ayn Hawd). Ayn Hawd al-Jadida is an unrecognized village, which means that it receives no services such as electricity, water, or an access road. Relations between the artists and the refugees are complex: unlike most Israelis, the residents of Ein Hod know the Palestinians who lived there before them, since the latter have worked as hired hands for the former. Unlike most Palestinian refugees, the residents of Ayn Hawd al-Jadida know the Israelis who now occupy their homes, the art they produce, and the peculiar ways they try to deal with the fact that their society was created upon the ruins of another.

It echoes the story of indigenous peoples everywhere: oppression, resistance, and the struggle to negotiate the scars of the past with the needs of the present and the hopes for the future. Addressing the universal issues of colonization, landlessness, housing rights, gentrification, and cultural appropriation in the specific context of Israel/Palestine, 500 Dunam on the Moon documents the art of dispossession and the creativity of the dispossessed.

«

Rachel Leah Jones’s documentary 500 Dunam on the Moon unsettles the dominant Israeli narrative about the artists’ colony Ein Hod, founded in the wake of the dispossession of the Palestinian village Ayn Hawd, while giving the term “artists colony” an ironic twist. Within the film, the pictorial setting of the region does not serve a kind of a nostalgia for the exotic, but only highlights a multi-layered history of silence; the much glorified (“hod” of the Hebrew) hybrid architectural style that combines “East” and “West” has been literally built upon the ruins of Palestinian houses. Capturing this process from the perspective of the remaining Palestinian villagers, living on the outskirts of their old home, Jones’s film courageously puts the “present absentees” back, as it were, on the map.
Professor Ella Shohat, NYU

 

Of the many films in this year’s festival [Human Rights Watch] that deal with conflict in the Middle East, most seem to be sketches toward a movie... The exception is Rachel Leah Jones’ 500 Dunam on the Moon. Jones had the wit to seize on a revelatory topic for her picture and the patience to develop it fully.
The Nation

 

Rachel Leah Jones’ dispassionate tour of the village Ein Hod, nee Ayn Hawd, encapsulates the most bitter of Israel’s ironies: how a place of refuge created its own refugees.
The Village Voice

 

During the ongoing fever-pitched crisis in the Middle East, a film like 500 Dunam on the Moon seems essential... The movie is free of the usual rhetoric and hyperbole (from both sides), and shows one neighbor struggling along while the other prospers.
Gay City News 

» 

Downlaod complete press kit in a pdf format in  download media

AWARDS
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------

 Honorable mention and Jury's choice in Tres continentes
     festival internacional de documental, Buenos Aires, 2002


FESTIVALS SELECTION
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------

 Human right Watch Int. Film Festival, New York, 2002
 Human Right Watch Travelling film festival, 2002
 San Francisco Jewish Film Festival, 2002
 Fotofest Houston, 2002
 CinemaTexas, Austin, 2002
 Reel Jews Documentary Film Festival, New York, 2002
Arab Film Festival, San Francisco, 2002
Pictures of Palestine, Maine, 2002
Tiburon Int. Film Festival, 2003
PalArt Festival, Ecosse, 2003
Palestine/Israel : What can Cinema Do ? Paris-Bruxelles, 2003
DocFest Monthly, New York, 2003

           

           

© RLJ Productions [US] - momento production [FR]

500 DUNAM ON THE MOON
47 minutes
| Video | Colour | 16:9 anamorphic | Stereo | 2002
Location : Palestine-Israel
OV : Hebrew, Arabic
Sub-titles : English, French, Arabic, Hebrew

This film is dedicated to the refugees in Jenin 

A film directed and produced by
Rachel Leah Jones

Participants
Asim Abu al-Hayja, Fares Abu al-Hayja, Husni Abu al-Hayja, Khaled Abu al-Hayja,
Lina Abu al-Hayja, Mahmoud Abu al-Hayja, Muhammad Majed Abu al-Hayja,
Muhammad Mubarak Abu al-Hayja, Muhannad Abu al-Hayja, Raed Abu al-Hayja,
Raeda Abu al-Hayja, Saad Abu al-Hayja, Yasmin Lewis, Alon Yarkoni,
Eden Yarkoni, Yana Yarkoni and Tali Junger (Mlle Fifi)

Director of Photography
Philippe Bellaiche
Additional Camera
Duke Dror
Rachel Leah Jones
Sound
Dahna Abourahme
Editor
Ruben Korenfeld
Assistant Editor
Eulalie Korenfeld
Additional Editing
Angela Alston
Yael Bitton
Lorena Luciano
Sarah Schubart
Executive Producers
Ruben Korenfeld
Eyal Sivan
Associate Producers
Omar Al-Qattan
Yael Lerer
Production Manager
Armelle Laborie
Produced by
Momento! (Paris)
RLJ Productions (New York)
In Association with
France 2 (Paris)
Alternative Information Center (Jerusalem)
Sindibad Films (London)
Production Assistance
Ziad Abbas
Jason Benjamin
Randi Cecchine
Munir Fakher al-Din
Gabrielle Rubin
Production Stills
Ahlam Shibli
Translations
Munir Fakher al-Din
Wael Qattan
Bashar Tarabieh
Sub-titles
Catherine Neuve-Eglise
Post-Production Assistance
Yigal Nizri
Jaime Omar Yassin
Online Editor
Peter Elphick
Mix
David Lassalle
Color Grading
Isabelle Laclaux
Graphics & Web Design
Thierry Baudier
Jeffrey Yas
Accounting
Dinesh Kapadia
Marysette Moisset
Susan Steiger
Production Services
JCS (Jerusalem)
MCA/CCNY (New York)
Movie Mobile (Tel Aviv)
On Air (Jerusalem)
Petra (Jerusalem)
Scala (Tel Aviv)
Post-Production Services
CMC (Paris)
Downtown Avid (New York)
On Sight (London)
Radical Avid (New York)
Sylicone (Paris)

Archival Materials
Association of Forty
IBA Channel 1 Archive
Israel GPO Photo Archive
Israel Channel 2 Archive
Janco-Dada Museum
Axelrode Collection, Jerusalem Cinematheque
Yad Gertrude

Music
Kerkenah, Parfum De Gitane
Anouar Brahem
ECM Records, Munich

With the participation of
Centre National de la Cinématographie
With the Support of
Al-Jalil Foundation
B. Saperstein Communications Trust
The Foundation for Middle East Peace
New York Women in Film and Television
University Film and Video Association

Acknowledgments
Muhammad Mubarak Abu al-Hayja and family, Simone Bitton, Henry Chalfant,
Dave Dresser, Duke Dror, Munir Fakher al-Din, Linda Hawkins, Michel Khleifi,
Tamara Kohns, Judith Jones, David Jones, Martin Jones, Annie Mae and Victor Jones,
Yael Lerer, Barbara Lubin/MECA, Deirdre Sulka-Meister, Lea Tsemel, Michel Warschawski

Unité de programmes documentaires
Yves Jeanneau - Anne Roucan
Administratrice de production
Anh Roquet
Atelier de production
Clotilde Beslon

 

www.500dunam.com


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SCALPEL
[12 episode series] 
A film by Collectif
Documentary | 2001 | 12 x 43 mn | color | 16:9 | OV


Scalpel is a series of critical reflection, not approaching matters like a news magazine would, but rather seeking to challenge assumptions, attitudes, practices, policies and generally accepted ideas that dominate the conceptions of health and its representations.


SCALPEL, series, 12x43 minutes

Scalpel is a series of critical reflection, not approaching matters like a news magazine would, but rather seeking to challenge assumptions, attitudes, practices, policies and generally accepted ideas that dominate the representations and conceptions of health.

Each 43 minutes episode consists of an introduction by Rony Brauman, followed by a short fiction film (6 minutes), a documentary (26 minutes) and a discussion (10 minutes) between Rony Brauman and a guest.


 

CONSOMMEZ SANTÉ EP1  
Directors: Angelo Caperna (documentary), Charles Castella (fiction)

L’ÉVANGILE SANITAIRE EP2
Directors: Philippe Degeorges (documentary), Charles Castella (fiction)

MÉDICALEMENT CORRECT EP3
Directors: François Fronty (documentary) Charles Castella (fiction)

DOCTEUR MANAGER EP4
Directors: Ruben Korenfeld (documentary), Alice de Poncheville (fiction)

PSYCHO TROP ! EP5
Directors: Jean-Bernard Andro (documentary), Alice de Poncheville (fiction)

MÉDECINE AVEC FRONTIÈRES EP6
Directors: Lou Ana (documentary), Alice de Poncheville (fiction)

MÉDECINES EN PARRALLÈLE EP7
Directors: Judith du Pasquier (documentary), Alice de Poncheville (fiction)

LES INGÉNIEURS DU CORPS EP8
Directors: Nathalie Loubeyre (documentary), Charles Castella (fiction)

DOC SHOW EP9
Directors: Ruben Korenfeld (documentary), Charles Castella (fiction)

MÉDICALEMENT PARFAIT EP10
Directors: Jean-Baptiste Mathieu (documentary), Charles Castella (fiction)

LABOS PROMO EP11
Directors: Vincent Glenn (documentary), Charles Castella (fiction)

CYBER MÉDECINE EP12
Directors: Angelo Caperna (documentary), Charles Castella (fiction)


 

...




 

...




 

...




© momento production [FR] l Arte [FR]

SCALPEL

Collection de 12 émissions de 43 minutes
12 x 43 minutes
| Vidéo | Couleur | 16:9 | Stéréo | 2001
Lieux de tournage : Europe
VO : français

Directeur de collection & auteur
Rony Brauman
Directeur artistique

Eyal Sivan
Rédacteur en chef

Laurent de Villepin
Auteur des fictions
 
Laurent Auclair
Production

Hortense Quitard
Réalisateurs
des fictions:
Alice de Poncheville
Charles Castella
Réalisateurs
des documentaIres:
Angelo Caperna
Philippe Degeorge
François Fronty
Ruben Korenfeld
Jean-Baptiste Mathieu
Jean-Bernard Andro
Lou Ana
Judith du Pasquier
Nathalie Loubeyre
Vincent Glenn
Angelo Caperna

 

...





This movie is not available for sale in DVD for private use.

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THE MARCHE, ITALIA
 
A film by Charles Castella
Documentary | 2002 | 41 mn | B/W | 16:9 | OV FR




A journey through the unknown and beautiful region of The Marche, in Italy.


The Marche ? Even Italians never heard of this region in the center of the country.  

Every road that leads there, is for sure an old Roman road. The Marche is circled by mountaines, except to its Eastside, where it meets the sea. One can admire vallies, yellow with wheat, or be surprised to find a village at the top of a hill, all surrounded with grapes.

Through the incredible diversity of its landscapes, history and culture, this film takes us on a journey to a certain "art de vivre".


 

...


 

...


           

           

 

THE MARCHE, ITALIA

41 minutes | 16:9 | 2002
OV : Italian
Sub-titles : French

A FILM WRITTEN AND DIRECTED BY
Charles Castella 

IMAGE
Charles CASTELLA
SOUND

Nathalie VIDAL
EDITOR
Matilde GROSJEAN 

 


 

...



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I LOVE YOU ALL
 
A film by Eyal Sivan & Audrey Maurion
Documentary | 2004 | 88 mn | color | 16:9 | OVST

Monsieur B. a travaillé pendant vingt ans comme fonctionnaire “au service du public”. Par amour. Un amour inconditionnel et absolu pour son peuple. Un amour aveugle et destructeur. Pour l’amour du peuple est construit autour de son témoignage exceptionnel et d’images d’archives souvent inédites.


Monsieur B. a travaillé pendant vingt ans comme fonctionnaire “au service du public”. Par amour. Un amour inconditionnel et absolu pour son peuple. Un amour aveugle et destructeur. Il avait fait sienne la devise : “La confiance c’est bien, le contrôle c’est mieux.” Lorsque le vent tourne et que le régime dont il a fait partie change, il est rejeté et son environnement social s’effondre. Licencié de ce qui fut sa maison, Monsieur B. se retrouve alors sans perspective ni avenir. Il est seul dans ce bureau qui n’est désormais plus le sien. Lorsqu’il aura passé la porte, il ne reviendra plus.

En février 1990, quelques semaines après la chute du Mur de Berlin, le démantèlement du Ministère pour la Sécurité d’Etat est-Allemand est entamé. C’est la fin de la STASI. Le major B. était l’un de ses officiers. Il livre alors un récit détaillé sur sa vie et son travail depuis vingt ans au sein de cette institution.

Pour l’amour du peuple est construit autour de cet exceptionnel témoignage et d’images d’archives souvent inédites ; c’est un film sur la surveillance et l’aveuglement, sur la croyance et la désillusion.

«

 Tout l'art de ce film consiste préçisément à convoquer les images du passé pour surveiller le présent.
L'Humanité

Une radiographie passionnante et inquiétante de l'ingérence des dictatures et de la dévotion zélée de certains patriotes.
Ciné Live

Édifiant. Adopter le point de vue et la langue du pouvoir policier, c'est l'intelligence de ce film, bien plus perturbant qu'un réquisitoire.
Télérama

» 

Télécharger la revue de presse complète au format PDF dans médias à télécharger

SÉLECTIONS FESTIVALS
-----------------------------------------------------------------------------------------------------------------------------------------------------------
• Sélection officielle Festival de Berlin, Allemagne, 2004

• Buenos Aires International Independant Film Festival, Argentine, 2004
• Festival de Ghent, Belgique, 2004

            

            

© ARCAPIX [FR] et zéro film [ALL]

POUR L'AMOUR DU PEUPLE

88 minutes | Vidéo | Color, NB | 4:3 | Stéréo | 2004
Lieux de tournage : Allemagne et images d'archives
VO : allemand ou français
Sous-titres : anglais

Réalisateurs
Eyal Sivan et Audrey Maurion

 

inspiré du livre
“ Pour l’Amour du Peuple, un officier de la Stasi parle ”. Éditions Albin Michel

Adaptation
Eyal Sivan, Audrey Maurion, Aurélie Tyszblat
d’après une idée de
Gilles-Marie Tiné

avec la voix de
Hanns Zischler
Conseiller artistique
Cornelia Klauss
Montage

Audrey Maurion
Assistée de
Mirjam Strugalla, Nicolas Gundelwein
Recherche d’archives
Cornelia Klauss

Assistée de
Karin Fritzsche, Mirjam Strugalla

Directeur de la photo
Peter Badel

Prise de son
Werner Phillipp
Conception son
Audrey Maurion

Montage son
Audrey Maurion, Dirk W. Jacob
Sons additionnels
Nicolas Becker, Jean-Michel Levy

Mixage
Martin Steyer - Studio Label Public

Musique originale
Christian Steyer, Nicolas Becker
Direction de production
Tassilo Aschauer
Postproduction
Sylvain Foucher, Maggie Heins
 

Produit par
Gilles-Marie Tiné et Thomas Kufus
Une production
ARCAPIX et zero film

en coproduction avec
RBB – Rundfunk Berlin-Brandenburg

avec la participation de
Centre National de la Cinématographie, Ministère de la Culture et de la Communication
Deutsch-Französisches Filmabkommen der FAA, Medienboard Berlin-Brandenburg
Mitteldeutsche Medienförderung (MDM)
Bundesbeauftrage für Kultur und Medien
(BKM) et de TELEPOOL.

Développé avec l’aide du
programme MEDIA de l’Union Européenne

...



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http://a33.idata.over-blog.com/85x119/1/49/32/69/auteur_numero3/Confavreux.jpg  Joseph Confavreux, journalist at France Culture

He has traveled extensively in Egypt, is a member of the editorial board of the journal Vacarme and co-directed La France invisible (La Découverte, 2006). He is a producer-coordinator of the documentary program Sur Les Docks, broadcast daily on France Culture.

 

http://www.ebu.ch/CMSimages/fr/GARCONMANQUE_Adila_tcm7-66433.jpg  Adila Bennedjaï-Zou

 

 


RALLIéS
 
A film by Adila Bennedjaï-Zou & Joseph Confavreux
Documentary | 2002 | 52 mn | color | 16:9 | OV FR


This film tells the stories of Albert, Ahmed and Miloud, three members of the expeditionary French army corps who, during Indochina war, deserted their posts in the French army, as to rally to the Vietminh.



The stories of Albert, Ahmed and Miloud, three members of the expeditionary French army corps who, during Indochina war, deserted their posts in the French army, as to rally to the Vietminh.

They tell us their departure from France and Morocco to the Indochina, the reasons of their difficult choice to leave French army, then their life in the Vietnam hills and the long exile, which followed. Today back to France and Morocco, they finally break the silence that shrouded their lives in mystery.

 

...


AWARDS
-------------------------------------------------------------------------------------------------------------------------------------

1st Prize, History Film Festival
     Pessac2003

Grant “ Brouillon d’un rêve ” of the SCAM
Best Script for a history documentary, Festival de Blois


FESTIVALS SELECTION
-------------------------------------------------------------------------------------------------------------------------------------
 États généraux du documentaire de Lussas, 2003

 

           

           

© momento production [FR]

RALLIÉS

52 minutes | video | colour | 16:9 | stereo | 2002
Location : archives. France, Marocco
OV : French, Arabic
Sub-titles : French, English

Directors 
Adila Bennedjaï-Zou

Joseph Confavreux

With
Albert
Miloud
Ahmed
Pierre-Alban
Colonel Jacques Allaire

And the voice of
Garance Clavel

Editor
Odile Bonis
Image

Hervé Kern
Sound

Olivier Cuinat
Archives Consultant

Patrick Jeudy
Special Effects

David Bouhsira
Colour Grading

Valérie Grenier
Mix

Christophe Brajdic
Assisted by 
Bruno Brochier
Production Manager

Pierre Marchand
Original Music

Gilles Lavanant
Graphics

David Enon
Executive Producers

Armelle Laborie
Eyal Sivan
Production Consultant

Ruben Korenfeld
Archives

Films de propagande vietnamiens
Collections privées
NARA

MUSIC

Quand un soldat
Written by : Francis Lemarque / Performed by : Yves Montand / Editions Métropolitaines
Marie Dominique

Performed by : Laure Diana / Editions Maisonneuve et Larose
Les Africains

Performed by : Bordas / Editions Maisonneuve et Larose
Sidi H’bibi

Performed by : Bellemou / Editions Cléopâtre-Ounassar
Varsovienne

Performed by : Chœurs de l’armée rouge / Editions Mémoire
Varsovienne

Performed by : Pierre Migennes / Editions Chants du Monde
Ashwa

Performed by : Gilles Atlas
Warsovienne

Performed by : Gilles Lavanant
Petit Soldat

Performed by : Gilles Lavanant
Indochine année zéro

Performed by : Gilles Lavanant

Rights Reserved

Acknowledgments 
Nelcya Delannoë
Alain Ruscio
Henri Martin
Pierre-André Boutang
Jacques Doyon
Stéphane Correa et l’association Victarine
Toute l’équipe de Pleine Lune
Marysette Moisset
Maître Serge Binn
Georges Gavelle
Luis et l’équipe de GL Pipa

And
France, Patrick, Marine et Lucas
Toute la famille Essahli
Toute la famille Charlon
Et Jérôme Huguet

With the Participation of
Centre National de la Cinématographie

 

...



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http://www.laperipherie.fr/images/cordesse/portrait.jpg  Alexis Cordesse | Photographer | born in 1971 | French | lives in Malakoff, France
 
BOOKS & CATALOGS

2010 Lucien & Rodolf Hervé Prize, catalog, Vimagie, France.

2006 Clichy sans clichés, Editions Robert Delpire / Acte Sud.

2005 Du Beau Travail!, avec Zoé Varier, Editions Trans Photographic Press.

2004 Europa, l’esprit des villes, catalogue Septembre de la Photographie, Editions Lieux dits, France.

2004 Generation X, World Press Photo Masterclass – First Decade, Gijs Stork Publisher, Hollande.

2003 2/15 – The day the world say no to the war, Editions Hello, New York, USA.

2003 Strangers : The first ICP Triennial of Photography and Video, Editions Steidl, Allemagne.


 

AWARDS & GRANTS

2010 Lucien & Rodoph Hervé Prize.

2010 Shortlisted Neuflize-Vie Foundation Award.

2010 Grant of research, National Center for Visual Arts (CNAP), France.

1995 3rd price Observer Hodge Award.

1993 World Press Photo Masterclass.

1992 Agena Prize

 

 

FOCA
Absolut Serbia 
A film by Alexis Cordesse
Documentary | 1997 | 13 mn | B/W | 16:9 | OVST


In April 1992, war broke out in Bosnia-Herzegovina. With help from the Yugoslavian army, the Bosniac-Serb militia seized two thirds of the territory, carrying out a campaign of terror against the Muslims and the Croats.



In April 1992, war broke out in Bosnia-Herzegovina. With help from the Yugoslavian army, the Bosniac-Serb militia seized two thirds of the territory, carrying out a campaign of terror against the Muslims and the Croats. This film was made in Foca, five years after the town was taken over by the Serb nationalists. The soundtrack is made up of interviews with the local population and of excerpts from the charges brought against the eight members of the local militia. There are no Muslims or Croats left in Foca at all, and the town is called Srebjne.


 

...


 

...


           

           

© État d'urgence [FR] momento production [FR]

FOCA, ABSOLUT SERBIA  

13 minutes | photo | B/W | 4:3 | stereo | 1996
Location : Bosnia
OV : Serbo-Croatian, French or English
Sub-titles : French, English

A film directed by
Alexis Cordesse

Auteurs
Eyal Sivan
Alexis Cordesse
Photographe

Alexis Cordesse
Sound

Nicolas Becker
Editor

Maya Cypel

 

...



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KABOUL
A Weary War 
A film by Alexis Cordesse
Documentary | 1997 | 13 mn | B/W | 16:9 | OVST



After ten years of russian occupation and three years of fighting against the pro-communist regime of Najibullah, in April 1992, Kabul fell into the hands of the Mujahadins.



After ten years of russian occupation and three years of fighting against the pro-communist regime of Najibullah, in April 1992, Kabul fell into the hands of the Mujahadins.
The Afghan capital, perviously spared, then became the scene of bloody fighting between rival groups of militia.
The images used to make this film were taken in january and february 1995, when the capital was under siege.



 

...


 

...


           

           

© État d'urgence [FR] momento production [FR]

KABOUL, A WEARY WAR

13 minutes | photo | B/W | 4:3 | stereo | 1996
Location : Kaboul
OV : music
Sub-titles : French, English

A film directed by
Alexis Cordesse

Authors
Eyal Sivan
Alexis Cordesse
Image

Alexis Cordesse
Sound Engineers

Nicolas Becker
Editor

Maya Cypel

 

...



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Charles Castella is born in Marseille.

At the beginning of the 80's, he enters l’École des Arts Décoratifs in Paris.
Charles Castella writes scripts, film related articles, he shoots and paints.

www.charles-castella.com


THE MARCHE, ITALIA
 
A film by Charles Castella
Documentary | 2002 | 41 mn | B/W | 16:9 | OV FR




A journey through the unknown and beautiful region of The Marche, in Italy.



The Marche ? Even Italians never heard of this region in the center of the country.  

Every road that leads there, is for sure an old Roman road. The Marche is circled by mountaines, except to its Eastside, where it meets the sea. One can admire vallies, yellow with wheat, or be surprised to find a village at the top of a hill, all surrounded with grapes.

Through the incredible diversity of its landscapes, history and culture, this film takes us on a journey to a certain "art de vivre".


 

...


 

...


           

           

 

THE MARCHE, ITALIA

41 minutes | 16:9 | 2002
OV : Italian
Sub-titles : French

A FILM WRITTEN AND DIRECTED BY
Charles Castella 

IMAGE
Charles CASTELLA
SOUND

Nathalie VIDAL
EDITOR
Matilde GROSJEAN 

 


 

...



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FICTION FILMAKERS:
Alice de Poncheville (fiction)
Charles Castella (fiction)

DOCUMENTARY FILMAKERS:
Angelo Caperna
Philippe Degeorge
François Fronty
Ruben Korenfeld
Jean-Baptiste Mathieu
Jean-Bernard Andro
Lou Ana
Judith du Pasquier
Nathalie Loubeyre
Vincent Glenn
Angelo Caperna


SCALPEL
[12 episode series] 
A film by Collectif
Documentary | 2001 | 12 x 43 mn | color | 16:9 | OV


Scalpel is a series of critical reflection, not approaching matters like a news magazine would, but rather seeking to challenge assumptions, attitudes, practices, policies and generally accepted ideas that dominate the conceptions of health and its representations.



SCALPEL, series, 12x43 minutes

Scalpel is a series of critical reflection, not approaching matters like a news magazine would, but rather seeking to challenge assumptions, attitudes, practices, policies and generally accepted ideas that dominate the representations and conceptions of health.

Each 43 minutes episode consists of an introduction by Rony Brauman, followed by a short fiction film (6 minutes), a documentary (26 minutes) and a discussion (10 minutes) between Rony Brauman and a guest.


 

CONSOMMEZ SANTÉ EP1  
Directors: Angelo Caperna (documentary), Charles Castella (fiction)

L’ÉVANGILE SANITAIRE EP2
Directors: Philippe Degeorges (documentary), Charles Castella (fiction)

MÉDICALEMENT CORRECT EP3
Directors: François Fronty (documentary) Charles Castella (fiction)

DOCTEUR MANAGER EP4
Directors: Ruben Korenfeld (documentary), Alice de Poncheville (fiction)

PSYCHO TROP ! EP5
Directors: Jean-Bernard Andro (documentary), Alice de Poncheville (fiction)

MÉDECINE AVEC FRONTIÈRES EP6
Directors: Lou Ana (documentary), Alice de Poncheville (fiction)

MÉDECINES EN PARRALLÈLE EP7
Directors: Judith du Pasquier (documentary), Alice de Poncheville (fiction)

LES INGÉNIEURS DU CORPS EP8
Directors: Nathalie Loubeyre (documentary), Charles Castella (fiction)

DOC SHOW EP9
Directors: Ruben Korenfeld (documentary), Charles Castella (fiction)

MÉDICALEMENT PARFAIT EP10
Directors: Jean-Baptiste Mathieu (documentary), Charles Castella (fiction)

LABOS PROMO EP11
Directors: Vincent Glenn (documentary), Charles Castella (fiction)

CYBER MÉDECINE EP12
Directors: Angelo Caperna (documentary), Charles Castella (fiction)


 

...




 

...




 

...




© momento production [FR] l Arte [FR]

SCALPEL

Collection de 12 émissions de 43 minutes
12 x 43 minutes
| Vidéo | Couleur | 16:9 | Stéréo | 2001
Lieux de tournage : Europe
VO : français

Directeur de collection & auteur
Rony Brauman
Directeur artistique

Eyal Sivan
Rédacteur en chef

Laurent de Villepin
Auteur des fictions
 
Laurent Auclair
Production

Hortense Quitard
Réalisateurs
des fictions:
Alice de Poncheville
Charles Castella
Réalisateurs
des documentaIres:
Angelo Caperna
Philippe Degeorge
François Fronty
Ruben Korenfeld
Jean-Baptiste Mathieu
Jean-Bernard Andro
Lou Ana
Judith du Pasquier
Nathalie Loubeyre
Vincent Glenn
Angelo Caperna

 

...





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http://images.tvbase.net/v2/1176000-1176499/1176269250250.png Eyal Sivan is a documentary film maker and theoretician.

Born in 1964 in Haifa Israel and grow up in Jerusalem. Currently Eyal Sivan is Reader (associate professor) in media production and co-leading the MA program in Film, video and new media at the school of Humanities and social sciences, at the University of East London (UEL)

After exercising as a professional photographer in Tel-Aviv, he leaves Israel in 1985 and settled in Paris. Since he is sharing is time between Europe and Israel. Known for his controversial films, Sivan directed more than 10 worldwide awarded political documentaries and produced many others. His cinematographic body of work was shown and awarded various prizes in prestigious festivals. Beside worldwide theatrical releases and TV broadcasts, Sivan's films are regularly exhibit in major art shows around the world.
He publishes and lectures on the Israeli-Palestinian conflict, documentary filmmaking and ethics, political crimes and representation, political use of memory, genocide and representation, etc.
Sivan is the founder and artistic director of the Paris based documentary films production company momento! and the film distribution agency Scalpel. He is the founder and Chief Editor of South Cinema Notebooks - a journal of cinema and political critic edited by the Sapir academic college in Israel where he lectures regularly.
He is member of the editorial board of the Paris based publishing house La Fabrique, as well as of the French social and political studies journal De l'Autre Côté.



For more information, visit http://www.eyalsivan.net

 

 


JAFFA
The Orange's Clockwork 
A film by Eyal Sivan
Documentary | 2009 | 88 mn | color | 16:9 | OVST


The history of Palestine and Israel is based on representations, on images and visual clichés. Among all the accepted symbols, only one is shared by both people: the orange. Through the story of Jaffa's oranges, the history of this land is told, a tale that is beautiful and heartrending. 



Jaffa’s orange is one of the symbols that helped build the Zionist discourse about Palestine: a “desert we have made bloom”.

Based on photographic and cinematographic documents, some going back as far as to the 19th century, Eyal Sivan’s film shows the orange groves at a time when Arab Jaffa was one of Palestine’s most populated and thriving cities.

From the picking of the fruit to its packaging before exportation, the orange was a source of revenue for thousands of peasants and workmen, not only from Palestine, but from Egypt, Syria and Lebanon too. Jews and Arabs worked together in the orange groves. These images were progressively replaced by socialist realist images, Israeli style, depicting labor and songs, emancipated women in shorts, etc.: it was the spreading of the “Jewish Labor”, the socialist call to action, excluding the Arabs. In 1948, Jaffa was ruined under the bombs and most of its population was gone. Jaffa’s orange then became the symbol of an Arab-free Israel. An international advertising campaign imposed the name “Jaffa”, like a trademark, concealing the city of Jaffa, its more than a hundred-year-old orange groves, and the history of the Jewish Arab cooperation over this legendary fruit..

«

In order to tell us this « orange's clockwork » and the taking-over of Jaffa, Eyal Sivan puts on the screen a multitude of images and representations and gives voice to many Palestinian and Israeli interlocutors, historians, writers, researchers, workmen… An outstanding work around archives, photographs, paintings, videos, and powerful testimonies.
Le Monde Diplomatique

With Jaffa, the Orange's Clockwork, Eyal Sivan uncovers, using a metaphor, a century of Israeli-Palestinian history.
Politis

The message of a colonization, meant to bring progress to a world of desolation, becomes an object of ridicule. (...) The film is worth seeing for the questions it raises in the viewer.
Le Monde

A remarkable work of memory.
Télérama

One of this film's interests lies in the pallet of interviewed people. (...) They all tell a vibrant account of life in Jaffa before the oranges became the symbol of the New Israel.
TéléObs

» 


Download the full press kit in a PDF format at download media

 AWARDS
-------------------------------------------------------------------------------------------------------------------------------------
WORLD PREMIERE IN OFFICIEL COMPETITION
    IDFA, Amsterdam, 2009
 
INTERNATIONAL JURY AWARD FOR BEST DOCUMENTARY
    Filmmaker, Milan, 2009

• YOUNG JURY'S SPECIAL MENTION
    Filmmaker, Milan, 2009 

AWARD FOR BEST EDITING
    Soleluna International documentary film festival on Islam and the Mediterranean, Palermo, 2010

 

FESTIVALS SELECTION
-------------------------------------------------------------------------------------------------------------------------------------
IDFA, International Documentary Film Festival, Amsterdam, 2009
Filmmaker, International Documentary film festival Milan, Italy, 2009
Full Frame Documentary Film Festival Durham, NC, USA, 2010
Nicosia International Documentary Film Festival, Cyprus, 2010
Bafici, Buenos Aires International Film Festival, 2010
Bergamo Film Meeting, Bergamo, Italy, 2010
Beldocs, Belgrada, Serbia, 2010
London Palestine Film Festival, London, UK, 2010
Toronto Jewish Film Festival, Canada, 2010
Visions du Réel, Nyon, Switzerland, 2010
Planet Doc Review Festival, Warsaw, Poland, 2010
Documenta Madrid 10, Madrid, Spain, 2010
Globale FIlmfestival, Berlin, Germany, 2010
Documentartist International Film Festival, Istanbul, Turkey, 2010
Sarajevo International Film Festival Sarajevo, Bosnia and Herzegovina, 2010
Dokufest International Documentary and short Film Festival, Prizon Republic of Kosovo, 2010
Boston Palestine Film Festival, 2010
Visoes do Sul, Mostra Internacional de Cinema de Portimao, Portimao Algarve, Portugal, 2010
Memorimage Film Festival Reus, Catalonia Spain 2010
VERZIO International Human Rights Documentary Film Festival Budapest Hungary 2010

 

@@

           

           

© Trabelsi productions [ISR] l Alma films [ISR] l the factory [FR] l Luna blue film [BE] l WDR [ALL] l NOGA Channel8 [ISR] l RTBF [BE]


JAFFA, THE ORANGE'S CLOCKWORK

88 minutes | Video | Color | 16:9 anamorphic | Stereo | 2009
Location : Israel, France
OV : Hebrew, Arabic
Sub-titles : French, English, Italian, Spanish, German, Hebrew, Arabic


A FILM BY

Eyal Sivan


WITH PARTICIPATION OF, IN ORDER OF APPEARANCE
Sami Abou Shahadeh - Ismaïl Abou Shahadeh - Haïm Gouri
Rona Sela - Elias Sanbar - Amnon Raz Krakotzkin - Gideon Makoff
Aviezer Chelouche - Tomer Chelouche - David Tartakover
Gideon Ofrat - Kamal Boullata - Moustapha Kabha
Mouhamed Hassouna - Shlomo Rizman - Arnon Yitzhaki
Mahmoud Yazbak - Doudik Shalit - Yosef Nahmias
Tal Amit - Roni Nakar - Zvi Kenan

ASSISTANT DIRECTOR

Erez Miller

CINEMATOGRAPHY

David Zarif
ADDITIONNEL CINEMATOGRAPHY

Vincent Fooy
Rémi Lainé
Shafir Sarusi
SOUND

Oren Raviv
Jean-Jacques Quinet
Asher Saraga
EDITOR

Audrey Maurion
AFTER EFFECT
 ANIMATION
Erez Miller
GRAPHIC CONCEPTION

Armelle Laborie
SOUND EDITING AND MIX

Jean-Jacques Quinet
ASSISTED BY

Damien Defays
RESEARCH

Marie-Nicole Feret
Tamar Katz
Yodfat Getz
ANIMATION STAND

Rahman Chowdhury
Fred Brown
ON LINE EDITING & COLOR GRADING

Matthew Hawkins
PRODUCTION MANAGER ISRAEL

Galit Cahlon
ASSISTANT CINEMATOGRAPHER
Nati Yehezkel

ASSISTANT EDITOR

Pascale Alibert
TRANSFERS

Michael Mograbi Berger
FRENCH VERSION

Catherine Neuve-Eglise

WITH THE FRENCH VOICES OF
Jean-Mars Delhausse - Thierry Janssens
Serge Kestemont - Fabienne Loriaux
André Pauwels - Philippe Résimont
Philippe Tasquin - Patrick Waleffe

TRANSCRIPTIONS AND TRANSLATIONS
Noa Ben Shalom
Rozeen Bisharat
Oriane Charpentier
Omaya Seddik
Awatef Shiekh
Louise Williams
 

ADDITIONAL RESEARCH
Yaakov Gross
Teresa Smith
Joan Yoshiwara
Kathrin Wildhagen
 

PRODUCTION ADMINISTRATION
Laurence Bertron
 

LEGAL SERVICE
Vered Cainar

TECHNICAL SERVICES
Brown & Altman, Tel-Aviv
MATRIX EAST RESEARCH LAB (MERL)
School of Humanities and Social Sciences
University of East London, UK
Haim Bresheeth , Steve Lauder
STUDIO

Studio 5 sur 5,  Bruxelles
MASTERISATION

Puzzle Film & Vidéo,  Bruxelles
SUB-TITLES

Nice Fellow, Paris

ARCHIVES
BFI National Archives
British Movietone
British Pathé
Footage Farm
Imperial War Museum
L’Atelier des Archives
Gaumont Pathé Archives
Ina
La Maison de la Pub/DR
Archives RTBF - Télévision belge
WDR Archives
Axelrod Collection - Jerusalem Cinematheque - Israel Film Archive
Citrus Marketing Board of Israel
IDF Archive
Israel Broadcasting Authority
Israel Film Services
Keren Kayemeth Le'Israel - Jewish National Fund
Steven Spielberg Jewish Film Archive - Hebrew University of Jerusalem
- Central Zionist Archives
United Studios Archive - Herzliya Studios Ltd
Yad Tabenkin Archive
Ramattan news agency
Library of Congress
Nara

PHOTOGRAPHIC CREDITS
Library of Congress, Prints & Photographs Division
Visit Palestine LC-USZC4-8342,
G. Eric and Edith Matson Photograph Collection
State of Israel - National photo collection : Daniel Kaplen Zoltan Kluger
Keren Kayemeth Le’israel - Jewish National Fund : Dov Daphnai,
Zoltan Kluger, Ben Noam, Joseph Zweig
Collection Ilan Roth, Herzliyah
Yaakov Ben dov - Werner Braun - Mula Eshet - François Scholten - Khalil Raad - Roger-Viollet

ARTISTIC CREDITS
Emad Abdel Wahhab - Tamam Al-Akhal - Mohieddin Al Labbad - Hilmi Al Touni - Isaam Bader
Nachum Guttman - Abdel Aziz Ibrahim - Raili Liaho - Loeb - Sliman Mansour - Kamil Mughanni
Marc Rubin - Reuven Rubin - Fares Samoor - Ismail Shammout - Suzanne - Zan Studio - Adnan Zbeidi
Ivette & Mazan Qupty Palestinien art collection
David Tartakover private Collection
Nachum Guttman Museum of Art
Reuven Rubin Museum
Collection musée Air France, service du patrimoine historique et culturel d'Air France
The Palestine Poster Project Archives - Liberation Graphics - Dan Walsh

FICTION EXTRAIT
Les Hirondelles ne meurent pas à Jérusalem
Réalisé par Ridha Behi
- Production Baba Films - Alya Films

MUSIC
Les oranges de Jaffa - Lyrics by Jean Marcland / Music byJoseph Mengozzi
© Warner Chappell Music France
Yafa - Music by Reem Kelani / Poem by Mahmoud Salim al-Hout
preformed by Reem Kelani / Piano : Zoe Rahman
Yaffa - Rahbani Brothers, Joseph Azar
Yafa Albal - Ghazi Sharqawi
Eshkolit - Traditional, Zeev Havatselet, Hadudaim, edited by: Eastronics
Shuvi shuvi la pardes - Yehudith Ravitz Meir Wiezelter Arik Sinai, edited by NMC united
Tapuah zahav - Yohanan Zarai Hayim Hefer Shlishiat Gesher Hayarkon, edited by Israphon
Bapardes layad hashoket - Nurit Hirsch, Yoram Taharlev, Yehoram Gaon, edited by NMC united
Mi ivne bait - Nachum Nardi, Levin Kipnis, Ofra Haza, edited by Hed Arzi music, NMC united
Be’mdinat ha’tapuz - Efraim Shamir, edited by Anana LTD, Mohar Eli, Rivka Zohar,
edited by Hed Arzi music, NMC united

ALL RIGHTS RESERVED


ALL ARCHIVES SHOWN IN THIS FILM WERE REEDITED


ACKNOWLEDGMENTS
Tamam Al-Akhal - Ridha Behi - Tal Ben Zvi - Ronit Chacham - Mona Deeb
Anat Even - Lily Farhoud - Shmulik Grub - Patrick Hepner - Armelle Laborie
Yaël Lerer - Maria Nadotti - Laura Malacart - Merav Ram - Adrian Rivkin
Rasha Salti - Nava Schreiber – Naomi Shavit - Karin Sivan – Dror Osnat
Uri Aylon - Nurit Bat Yaar - Guy Binshtok - Sameer El-Hajj - Mula Eshet
Avner Kahanov - Mazan Qupty – Dan Yahav
Sinai Abt - Gad and Yoav Ben Artzi - Nahman Ingbar - Lior Ohad
Eyal Openhaim - Minkov Museum - The first orchard in Rehovot
Carmit Rapaport - Society for Preservation of Israel Heritage Sites Hadas Beeri
Kaleen Gay-Para - Aloïse Jancovic - Laureline Edom - Nicolas & Camille Couderc

A COPRODUCTION OF
Trabelsi Productions
Osnat Trabelsi
Ori Duvnov
Talia Salomon
Alma Film
Arik Bernstein
the factory
Frank Eskenazi
Hortense Quitard
Claire Cochard
Eurydice Calméjane
Luna blue film
Serge Kestemont
Héléna Fages
Charlotte Bosquet
Nacho Carranza - Denis Delcampe
Bart Decoster - Ingrid Ingelrham
Catherine Kessels
WESTDEUTSCHER RUNDFUNK (WDR)
Documentary Supervisor Jutta Krug
NOGA Communications - Channel 8
Projects Development Liran Atzmor
RTBF (télévision belge)
Associated Producer Annick Lernoud
Production Manager Philippe Antoine
Documentary Supervisor Wilbur Leguebe

WITH THE SUPPORT OF
Centre du Cinéma et de l’Audiovisuel de la Communauté française de Belgique
et des Télédistributeurs wallons
Centre National de la Cinématographie
Procirep - Société des Producteurs
Angoa

WITH THE PARTICIPATION OF
Radio–Canada
Jean Pelletier, Georges Amar
Télévision Suisse Romande (TSR)
Documentary Film Unit
Irène Challand, Gaspard Lamunière
France Télévisions
Documentary Pole
Pierre Block de Friberg
Carlos Pinsky
Barbara Hurel
Philippe Le More
Valérie Verdier-Ferré
Press
Philippe Broussard
 

Cinémas Utopia

Festival Visions du Réel

France 5 

Palestine Poster Project

www.trabelsiproductions.com

www.eyalsivan.net

"An outstanding work around archives, photographs, paintings, videos, and powerful testimonies" Le Monde Diplomatique
"With Jaffa, the Orange's Clockwork, Eyal Sivan uncovers, using a metaphor, a century of Israeli-Palestinian history" Politis
"A remarkable work of memory" Télérama

 

This DVD includes :

1 DVD 9 Multizone [+ NTSC]  178 min | 16:9 | Dolby 0.2 | momento! 2010
OV : Arabic, Hebrew, French, English
Subtitles : Arabic, Hebrew, French, English, Spanish, Italian, German, Turkish
BONUS [90 min]
TV version + filmmaker interview + slide-show + historical maps

ISBN : 2-915-683-10-7

20 €Price for Individuals

ITSEMBATSEMBA
Rwanda, One Genocide Later 
A film by Eyal Sivan
Documentary | 1997 | 13 mn | B/W | 16:9 | OVST


The genocide in Rwanda (Itsembatsemba) took place amongst general indifference. On the 6th April 1994, a fury of purification swept the country. Within one hundred days, soldiers and militiamen (Interhamwe) massacred at least 700,000 Tutsis.



The genocide in Rwanda (Itsembatsemba) took place amongst general indifference. On the 6th April 1994, a fury of purification swept the country. Within one hundred days, soldiers and militiamen (Interhamwe) massacred at least 700,000 Tutsis. These images were taken two years after the genocide, in April 1996. The sound track comes from Radio Télévision Mille Collines (Thousand Hills Free Broadcasting) - RTLM - and dates from April to June 1994. RTLM began to transmit in 1991 with the help of the regime and played a key role in the unleashing and the coordination of the killing.


«

Diverting the tone and format of the TV report, Eyal Sivan is pursuing his reflection on the representation of genocide and the political use of memory.
Connaissance des Arts

» 

Download the full press kit in a PDF format at download media

AWARDS
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------

 
 GOLDEN GATE AWARD
     San Fransisco International Film Festival, 1997


FESTIVALS SELECTION
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------
 Documenta XI, Cassel, 2002
 Internationale Kurzfilmtage Oberhausen, 2003
 International Human Rights Film Festival, Ramallah-Tel-Aviv, 2000
 Amnesty International Film Festival, Amsterdam, 1998
 Rencontres Cinématographiques de Seine St Denis, Résistance, 1998
 Human Rights Watch International Film Festival, 1997
 Festival Cinéma du Réel, Paris, 1997
 International Documentary Film Festival Amsterdam, 1996

           

           

© État d'urgence [FR] momento production [FR]  

ITSEMBATSEMBA, RWANDA A GENOCIDE LATER

13 minutes | photo | B/W | 4:3 | stereo | 1996
Location : Rwanda
OV : Kinyarwanda
Sub-titles : French, English
 

A film directed and produced by 
Eyal SIVAN

Assisted by 
Armelle LABORIE
Images and Sound 
Alexis CORDESSE
Photo Prints
Carole DELRIEU
Editor
Michèle COURBOU
Sound Editor and Mix 
Eric LONNEUR
Sound Effects
Nicolas BECKER
Translations
Charles RUBAGUMYA
Written texts
Rony BRAUMAN
Sub-titles
Catherine NEUVE-EGLISE
Post-Production
Son pour Son
Etat d’Urgence Productions
Animation Stands
Ercidan
Laboratories
Mise au Point
Centrimage
Acknowledgments
Benjamin Bleton - Amit Breuer - Annette Gerlach - Céline Laborie
Madeleine Moukamabano - Christophe Picard - Jérôme Wirth Sam Productions
Médecins Sans Frontières - Reporters Sans Frontières - TheoPresse

 

...



This movie is not available for sale in DVD for private use.

To purchase DVDs for institutions: Libraries & Institutions

YESHAYAHU LEIBOWITZ
[Box Set] 
A film by Eyal Sivan
Documentary | 1991-93 | 300 mn | color | 4:3 | OVST


3 DVDs consecrated to professor Yeshayahu Leibowitz, philosopher and scientist, including Izkor, slaves of memory & Itagaber, He will overcome, exclusively in this box set & a 40 minutes bonus of unpublished interviews with the professor.



ITGABER, he will overcome

Using vocabulary that can be understood by everyone, the philosopher opens himself up with a critical reflexion about what makes Man : his will power, his freedom, what he chooses, the tasks he sets himself, and how by “Triumphing over Oneself”, he goes above the others of this world.

Inspiration for the movement of Israeli soldiers who refuse to do their military service in the Occupied Territories, Professor Yeshayahu Leibovitz, who has always been very attached to the idea of divine law, explains, in a very provocative way, his position with regards to the law and authority in general, and with regards to the Israeli State and government in particular.

In the tradition of the Prophets, his uncompromising words force each individual to face up to their responsibilities, both as a human being and as a citizen.

 

IZKOR, slaves of memory

Izkor means "remember" in Hebrew and this film looks in depth at this imperative that is imposed on the children of Israel. In Israel during the month of April feast days and celebrations take place one after another. School children of all ages prepare to pay tribute to their country's past. The collective memory becomes a terribly efficient tool for the training of young minds. Izkor, is a portrait of the Israeli society that has never been shown before, thirty days in the life of a state that lives to the rhythm of its memory. This award-winning film puts forward a passionate and severe analysis of the Hebrew state.

«

ITGABER, he will overcome

The film preserves an oratorical art, made of imprecations, brisures, silences and repetitions, peculiar to the subtle and grandiloquent prophets the Jewish people has always had. (...) The cathodic dimension is never lost, Leibowitz is set face to face with previous shootings, through a video - tape recorder. This device attempts to shake up a thought system, as well as tracking it. Not fooled but fascinated, this document exasperates and delights.
Télérama

Original because despite of the strong personality of his interlocutor, the director succeed in keeping a loyal distance which doesn't deprive the spectator of his freedom of perception. In front of Eyal Sivan's camera, Yeshahyaou Leibowitz casts many roles : the scientific philosopher delivers the argued fruits of his thoughts and knowledge, the citizen fires against the established order, the interviewed returns the questions to the interviewer and comments it. The whole thing is to be heard and watch with delight.
Différences

Whether you side with Leibowitz' thoughts or feel a fierce hatred towards him, this film instructs and shakes you up. Rare qualities in this day and age.
Journal des lettres et de l'audiovisuel

«

IZKOR, slaves of memory

An in-depth, uneasy and disturbing reflection on the roots of Israeli nationalism.
Le Monde

This painful and great documentary leaves you alone and despaired, with your conscience beating wildly.
Télérama

Izkor, the excellent documentary by Eyal Sivan, shows how the month of April is strategic for spreading Zionsim, Israel's founding ideology, in the young generations.
Libération

» 

Download the full press kit in a PDF format at download media

AWARDS
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------

    Izkor, slaves of memory
PROCIREP AWARD, Jury's Special Mention
    FIPA, 1991

INVESTIGATION PRIZE, Biennale Européenne du Documentaire
    Marseille, 1991

GOLD LENSE
    Tel-Aviv, 1991

           

           

© Les films d'ici [FR] | Images et Compagnies [FR] | Amythos Films [ISR] | FR3 [FR]

ITGABER

2 X 85 minutes | video | Colour | 4:3 |Stereo | 1993
Location : Israel
OV : Hebrew
Sub-titles : French, English, Italian, Spanish, German

 Author
Eyal Sivan

Director of Photography
Rony Katzenelson
Sound

Amir Buverman
Editing

Eyal Sivan & Charlotte Tourres
Producer

Ruben Korenfeld

 

© Ima Production [FR] | Reha Film [FR] | Adam [ISR] | FR3 [FR] | ZDF [ALL]

IZKOR

97 minutes | 16 mm | Colour | 4:3 | Stereo | 1991
Location : Israel
OV : Hebrew
Sub-titles :
French, English, Italian, Spanish, German, Arabic

Author
Eyal Sivan

Director of Photography
Rony Katzenelson
Sound

Rémy Attal
Editing

Jacques Cometz & Sylvie Pontoizeau
Producer

Ruben Korenfeld

 

...


"Not fooled but fascinated, this document exasperates and delights" Télérama
"An in-depth, uneasy and disturbing reflection on the roots of Israeli nationalism" Le Monde

This DVD includes :

Box set of 3 DVD9  [ZONE 2]  300 min | 4:3 | Dolby 2.0 | momento! 2007
OV : Hebrew
ST : French, English, German, Italian, Spanish, Arabic
DVD1 : ITGABER, on science and values [85 min] + BONUS [17min]
DVD2 : ITGABER, on State and law [85 min] + BONUS [17min]
DVD3 : IZKOR, slaves of memory
ISBN : 2-915683-06-9

29 €Price for Individuals

ITGABER
He Will Overcome 
A film by Eyal Sivan
Documentary | 1993 | 2 x 85 mn | color | 4:3 | OVST

Yeshayahu Leibowitz, one of Judaism most provocative and controversial minds, an inspiration for the movement of Israeli soldiers who refuse to serve in the Occupied Territories, a person very attached to the divine law, develops his defiant positions vis-à-vis of the law and of authority in general, and of State and government in particular.



Interviews with Professor Leibovitz, in two parts

On science and values
“It is man’s will that makes him Man”. This phrase is the key to the thoughts of one of the most provocative thinkers of the end of this century, and the one that sets the tone for these discussions. Using vocabulary that can be understood by everyone, the philosopher opens himself up with a critical reflexion about what makes Man : his will power, his freedom, what he chooses, the tasks he sets himself, and how by “Triumphing over Oneself”, he goes above the others of this world.

On State and laws
“The honest man should know that he should never respect the law too closely”. Professor Y. Leibovitz, spiritual leader of the Israeli soldiers who refuse to carry out their military national service in the Occupied Territories, who has always been very attached to the notion of divine law, develops, a  provocative position vis-à-vis the state in general, and power in particular. Following the traditions of the Prophetes, his caustic tone makes us think about our responsibilities as human beings and citizens.

 

ABOUT THE FILM

Yeshayahu Leibovitz - An uncompromising man for almost a century

Y. Leibovitz was born in Riga, Lettonia in 1903. He grew up in a rich, orthodox, Zionist, Jewish family. Educated by tutors from an early age, he spoke Hebrew, Yiddish, German, Russian and French. A childhood we can no longer imagine, surrounded by open, profound and refined culture.

In 1919, when he was 16, a civil war opposed Red and White Russians. He emigrated, as did many of his contemporaries, to the young Weimar Republic where the intense intellectual and artistic life seemed highly attractive.

He studied bio-chemistry at the University of Berlin, where no less than five of his Professors were Nobel prize winners. This was also where met his future wife, Greta, who was studying mathematics.

In 1928, he fulfilled a dream and left for Palestine. But he only stayed there for a short period, returning to Berlin to continue his medical studies. He was then obliged to finish these in Switzerland, when the Nazis came to power. Never, he points out, was he subjected to antisemitic discrimination, neither at university, nor in the street.

It was in 1934, that he finally settled in Palestine with his wife Greta. He immediately began teaching neuro-physiology and headed the biochemical department at the Hebrew University in Jerusalem.

In 1948, he took up arms to participate in the creation of the State of Israel, or what he referred to as a “framework of national independence for the Jewish people”. But even at that early stage, he called for the separation of religion and the State, in order to save religious values from the clutches of the politicians. A profoundly religious man, he always supported his non-religious compatriots, who were appalled by attitude of the orthodox Jews.

As soon as the 1967 war was over, he denounced the occupation of Arab territories, which he saw as the introduction of a system for the repression of one people by another. Could the children of Israel be sliding dangerously towards becoming “Jewish-Nazis”?

This sombre, pessimistic and imprecatory man belonged to no particular political movement: “The moral progress of Man does not exist and History is merely the chronicle of man’s crimes, follies, and misfortunes”, and he adds, “if you cannot bear this terrible world, then you should commit suicide…”

Since life’s only meaning is in individual acts: “The most noble part of History, is man’s struggle against crimes, follies and misfortunes. A constant and eternal struggle, with no finality.”

In the 1970’s, he was offered a chair in Philosophy at the Hebrew University.

People came to hear him speak, to talk to him: “Hundreds of people, from all walks in life come to see me, write to me or telephone me. I now realise just to what extent I have become “the voice” of the voiceless, those who either don’t know how, don’t dare, or who cannot express their thoughts and their feelings. They are very happy for me to help them to define these thoughts and feelings. That I know, but I don’t think that anyone has changed their opinions for all of that.”

Yeshayahu Leibovitz welcomes all to his modest home in Jerusalem, at any time of the day or night, all those who want to talk to him: a confused soldier, with problems of conscience, a religious person with doubts about his belief, a person with a drug problem… He also welcomes intellectuals of all outlooks and all nationalities.

His words are clear. He is a powerful speaker, tirelessly giving seminars and conferences, taking part in debates and also tirelessly denouncing. His anger is his strength.

At the time of the invasion of Lebanon, in 1982, during a conference where he was alone on stage, he said: “I ask every honest person here to stand up and declare with me, in a loud and clear voice, that he is a traitor. That he betrays the values that are revered today in this country. I call for an uprising, for a revolt.”

Yeshayahu Leibovitz is never alone. His wife, Greta, supports him in the background. She accompanies him everywhere, she knows all his speeches, and corrects his mistakes.

“The most important thing in a man’s life, is his wife”, he says.

In 1993, his nomination for the Israel Prize, a high distinction, caused general uproar. Yeshayahu Leibovitz refused the prize.

 

He died in August 1994.

 

For 15 years, Professor Leibovitz was responsible for the editing and development of the Hebrew Encyclopaedia for which he wrote a number of articles.

 

Besides a considerable number of scientific works, he has also published several collections of articles, essays and public speeches.

His work includes :

Faith, history and values
The faith of Maïmonide
Conversations about science and its values
Evolution and genetics
Body and soul; the psycho-physical question
Judaism, the Jewish people and the State of Israel

 

«

The film preserves an oratorical art, made of imprecations, brisures, silences and repetitions, peculiar to the subtle and grandiloquent prophets the Jewish people has always had. (...) The cathodic dimension is never lost, Leibowitz is set face to face with previous shootings, through a video - tape recorder. This device attempts to shake up a thought system, as well as tracking itNot fooled but fascinated, this document exasperates and delights.
Télérama

Original because despite of the strong personality of his interlocutor, the director succeed in keeping a loyal distance which doesn't deprive the spectator of his freedom of perception. In front of Eyal Sivan's camera, Yeshahyaou Leibowitz casts many roles : the scientific philosopher delivers the argued fruits of his thoughts and knowledge, the citizen fires against the established order, the interviewed returns the questions to the interviewer and comments it. The whole thing is to be heard and watch with delight.
Différences

Whether you side with Leibowitz' thoughts or feel a fierce hatred towards him, this film instructs and shakes you up. Rare qualities in this day and age.
Journal des lettres et de l'audiovisuel

» 

Télécharger la revue de presse complète au format PDF dans médias à télécharger

 

...


           

           

© Les films d'ici [FR] | Images et Compagnies [FR] | Amythos Films [ISR] | FR3 [FR]

ITGABER

2 X 85 minutes | video | Colour | 4:3 |Stereo | 1993
Location : Israel
OV : Hebrew
Sub-titles : French, English, Italian, Spanish, German

 Author
Eyal Sivan

Director of Photography
Rony Katzenelson
Sound

Amir Buverman
Editing

Eyal Sivan & Charlotte Tourres
Producer

Ruben Korenfeld

 

...



This movie is not available for sale in DVD for private use.

To purchase DVDs for institutions: Libraries & Institutions

IZKOR
slaves of Memory 
A film by Eyal Sivan
Documentary | 1990 | 97 mn | B/W | 4:3 | OVST

Izkor means "remember" in Hebrew and this film looks in depth at this imperative that is imposed on the children of Israel. In Israel during the month of April feast days and celebrations take place one after another. School children of all ages prepare to pay tribute to their country's past. The collective memory becomes a terribly efficient tool for the training of young minds. Izkor, is a portrait of the Israeli society that has never been shown before, thirty days in the life of a state that lives to the rhythm of its memory. This award-winning film puts forward a passionate and severe analysis of the Hebrew state.



IZKOR, is a portrait of the Israeli society that had never been shown before, thirty days in the life of a State that lives to the rhythm of its memory. This award-winning film puts forward a passionate and severe analysis of the Hebrew state.


“IZKOR,” means "remember" in Hebrew and this film looks in depth at this imperative that is imposed on the children of Israel. In Israel during the month of April feast days and celebrations take place one after another. School children of all ages prepare to pay tribute to their country's past. The collective memory becomes a terribly efficient tool for the training of young minds.

In Israel, “Never again” is not just a slogan, it's a “mantra”. It is an atmosphere, an ever present cloud, a widespread fear, touching every aspect of daily life, reason, opinions, creativity and choices people make for the future. Though Israel has been under the media spotlight since its creation, it is still a mystery to many observers. Its survival raises moral problems for some, and malicious speculation in others. But it is precisely on account this survival issue that the identity and determination of the population were forgotten.

The author of the film is an Israeli. By going to rediscover the myths and symbols that have contributed to the making of his own identity, as well as that of every Israeli, he is bringing into play his own personal experience. Through a meticulous observation of the educational system, from kindergarten to the army, we discover how history is transformed into memory, how it sets an atmosphere and influences Israelis' behavior and lifestyles. Not only of interest for specialists on Israel, the film is an assessment of the place of memory in educational practice in a contemporary nation-state.

“Izkor offers the viewer a disquieting sense of the intensely ideological role of the Israeli educational system” OU “Izkor is a remarkable portrait of the Israeli educational system, but the sort of indoctrination in nationalist mythology that you criticize goes on in every country.”
- Cineaste


"It is not difficult to understand why Sivan's film has offended some people. Certain memories have attained the status of sacred cows and any viewpoint not totally reverential to them may be considered taboo. Sivan implies no disrespect to either the memories or the events they preserve, but is questioning the methods used in ensuring them for the future. A sacred cow not open to questioning must be considered suspect by an alert mind.
- The Jerusalem Post

“Courageous film”
- Les Cahiers du Cinéma


"Izkor is an hypercritical vision of the educational system of Israel. It is illustrated by the thoughts of professor Leibovitz who points out an extensive use of the memory of the past in order to justify the present actions."
- Jewish Press Agency

"These two hours won't leave anyone unharmed."
- L'Express

Awards & Film Festivals selections
Procirep Prize & jury's special mention, FIPA 1991 • Investigation Prize  European Documentaries Biennale, Marseilles 1991
Golden Lens, Tel Aviv Film Festival 1991 •

            

            

© Ima Production [FR] | Reha Film [FR] | Adam [ISR] | FR3 [FR] ZDF [ALL]

IZKOR

97 minutes | 16 mm | Couleur | 4:3 | Stéréo | 1991
Lieu de tournage : Israël
VO : hébreu
Sous-titres : 
français, anglais, italien, espagnol, allemand, arabe

Auteur
Eyal Sivan

Chef opérateur
Rony Katzenelson
Ingénieur du son

Rémy Attal
Monteurs

Jacques Cometz & Sylvie Pontoizeau
Producteur

Ruben Korenfeld

...

A film on memory and politics:this is the way that Israeli society exploits its myths
to train hard people without doubts or remorse,the soldiers of the future wars.”
-Tom Segev (author of The Seventh Million) Haaretz
“Courageous film” Les Cahiers du Cinéma

This DVD includes :

DVD5 [PAL]  97 mn | 4:3 | stéréo | momento production, 2006

VO : Hebrew – ST : French, English, Spanish, Italian

ISBN : 2-915683-02-6915683-02-6


19 €Price for Individuals

AQABAT-JABER [VDP]
Passing Through 
A film by Eyal Sivan
Documentary | 1987 | 81 mn | color | 4:3 | OVST

Aqabat-Jaber is one of the sixty Palestinian refugee camps built in the Middle East by the UN at the beginning of the 1950s. Filmed in 1987, a few months before the Intifada, this film tells the story of a disinherited generation brought up in the nostalgia of places they never knew and which no longer exist. The story of a temporary solution that became a permanent way of life.



Aqabat-Jaber is one of the sixty Palestinian refugee camps built in the Middle East by the UN at the beginning of the 1950s. Filmed in 1987, a few months before the Intifada, this film tells the story of a disinherited generation brought up in the nostalgia of places they never knew and which no longer exist. The story of a temporary solution that became a permanent way of life.

Aqabat-Jaber is one of the sixty Palestinian refugee camps built in the Middle East by the UN at the beginning of the 1950s. It is the biggest camp in the Middle East situated some 3 kilometres south of Jericho. The majority of its 65,000 inhabitants came from those villages in central Palestine that were destroyed in 1948. The 1967 war pushed 95% of that population across the banks of the river Jordan. The traces of war and the effects of erosion by the desert accentuate the contrasts between the abandoned refugees and the huts that they still occupy, and make Aqabat-Jaber look like a ghost town. Filmed in 1987, a few months before the Intifada, this film tells the story of a disinherited generation brought up in the nostalgia of places they never knew and which no longer exist. The story of a temporary solution that became a permanent way of life. This film is about a ghost town, fulfilled by nostalgia and memories.


«

This film goes beyond politics. It is about country people confined for the last 38 years in refugee camps, about the humiliation of being severed from their land, from their orchards, their villages. Nothing happens in the film because nothing happens in their lives. Endlessly waiting, some still cling to the hope of returning one day to their land. It is not a silent film, it cries out in its simplicity, wrenching the heart. These are human beings ?? So, what...?!
Henri Cartier-Bresson

Some refugees welcome the chance to introduce themselves, air their grievances and bemoan their fates ; other scorn the filmmakers. Sivan, ever sympathetic to their conditions, extracts detailed life stories from the displaced persons as he pans the daily life at the camps.
Variety

Aqabat-Jaber offers a poetic vision of homelessness a permanent state of mind.  Poignancy merges with absurdity, turning the makeshift life into a kind of grotesque purgatory, a sad dreamland.
The Boston Phoenix

Aqabat-jaber is a definite highlight. It's a sad and troubling look at a decrepit West Bank refugee camp where Palestinians, many displaced landowners living in exile, talk about their lives and their hopes of regaining their land. For many of these refugees, some there since 1948, the land is a symbol of lost culture and lost self-respect.
Boston Herald

Aqabat-Jaber  by Eyal Sivan, winner of cinéma du réel 1987, is a very powerful testimony on uprooted people of all origins.
Libération

There is, in Eyal Sivan's film, the acute awareness of the camera's gaze in everyone that is filmed.
Cahiers du Cinéma

A movie beyond the politics, since here scorned people are dignified and proud.
Positif

» 

Download the full press kit in a PDF format at download media

AWARDS
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------

GRAND PRIX "CINÉMA DU RÉEL"
    Paris, 1987

GOLDEN CROWN, Festikon
    Amsterdam, 1988

 AIR FRANCE & RADIO FRANCE AWARD, Festival du Film de Belfort
    1988

BEST SOCIO-POLITICAL DOCUMENTARY, International Film Festival
    Oakland, 1987

JURY'S SPECIAL MENTION, Internationale Filmwoche
    Mannheim, 1988

           

           

© Dune Vision [FR] 1987 – © momento production [FR] 1994

AQABAT-JABER, PASSING THROUGH

86 minutes 16 mm colour 4:3 Stereo 1987
Location : Palestine

OV : Arabic
Sub-titles : English, French, Spanish

A film by
Eyal Sivan

Production
Dune Vision
Executive Producer

Thibaut de Corday
Based on the original idea of

Eyal Sivan and Noa Gedy
Camera

Nurith Aviv
Assisted by 

Claire Bailly du Bois

2nd
 camera
Raymond Grosjean
Sound

Rémy Atta
Assisted by

Philippe Garnier
Assistant Director / interpreter

Mohamed Diab
2nd Assistant

Noa Gedy.
Production Coordinator

Philippa Benson
Production Manager

Thibaut de Corday
Stills

Eric Bouvet / Gamma
Editor

Ruth Schell
Sound Editor

Véronique Lange
Mix

Patrick Ghislain
Translations

Sylvana Kattar

 

...



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AQABAT-JABER [PSR]
Peace with No Return? 
A film by Eyal Sivan
Documentary | 1995 | 61 mn | color | 4:3 | OVST


Aqabat-Jaber is a Palestinian refugee camp built nearly fifty years ago just outside Jericho. Today, the camp’s 3,000 inhabitants live under Palestinian autonomy, but paradoxically their status has not changed, they are still refugees.



Can peace between Israel and Palestine be possible without the return of the Palestinian refugees to their homeland which has now become Israel ? Does the return - either physical or symbolic - of people that suffered an injustice in 1948 when the state of Israel was created have to take place.

Having made "Aqabat Jaber, passing through" just before the Intifada, Eyal Sivan returns to a refugee camp the day after the evacuation of the region by the Israeli army. A few kilometres from Jericho and built 50 years ago, Aqabat-Jaber is a refugee camp that is under Palestinian control today. Its 3,000 inhabitants have not however seen their status change. According to the peace treaty, they are still refugees and cannot go back to the villages from which their parents fled. The return home of the refugees, right at the heart of the Israelo-Palestine conflict, will determine the future of the Middle East.

This film, which hopes to be analogical, tells the story of the Palestinian refugees, like all refugees, deported populations, displaced persons, that are the centre of the great conflicts of the 20th century.

«

A strong testimony about the uprooted from everywhere (...) A beautifull sobriety cleared out from the usual conventional speach.
Libération

Eyal Sivan continues his relentless and disturbing work, from film to film, investigating thre true nature of his native country. Any study of memory, of history, of values, of the myths of Israel confronted with reality, depends, of course, and perhaps above all, for Eyal Sivan on getting to know your opponent. In this case, the enemy / partner over the last 50 years, the palestinian people.
Le Nouvel Observateur

From this honest and authentic film, that hauls out poetry from poerty the depths of despair, we understand that the Prophet stopped in Aqabat Jaber, this metaphor of the palestinian deadlock.
Télérama

» 

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...


           

           

© momento production [FR] | Amythos [ISR] | la Sept ARTE [FR]

AQABAT-JABER, PEACE WITH NO RETURN?

61 minutes | 16 mm | color | 4:3 | 1995
Location : Palestine

OV : Arabic
Sub-titles : French, English, Spanish

A film by
Eyal Sivan

Producer
Armelle Laborie
Cinematographer

Nurith Aviv
Sound

Rémy Attal
Editor

Sylvie Pontoizeau

 

...



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JERUSALEM(S)
Borderline Syndrome 
A film by Eyal Sivan
Documentary-Fiction | 1994 | 64 mn | color | 16:9 | OVST

At the beginning of this century, a particular form of hysteria was discovered, known as “Jerusalem Fever”, which affected pilgrims visiting the Holy City. A camera wanders in Jerusalem in search of a new approach. Late at night, a child wanders through the streets of Jerusalem in search of the woman with golden breasts that once glimpsed.



This iconoclastic film, midway between fiction and documentary, explores the "over-sacred" side of Jerusalem. A political gamble for its inhabitants, a myth for its visitors, Jerusalem remains a universal object of desire that borders on fetishism. The film takes its inspiration from the Jerusalem Syndrome, a psychiatric syndrome, officially recognised in the 19th century, and from which the pilgrims and tourists that visited the Holy City suffered. A camera visits Jerusalem looking for a new approach to show the city. In parallel a young boy wanders the streets and discovers one night a prostitute with golden breasts. The boy, as does the camera, becomes a victim of a violently feminine Jerusalem.

ABOUT THE FILM

At the beginning of this century, a particular form of hysteria was discovered, known as “Jerusalem Fever”, which affected pilgrims visiting the Holy City. This syndrome is perhaps one of the city’s underlying truths.

Jerusalem(s) Borderline Syndrome, analyses the often irrational relationship that men and women sometimes have with an object, an image or a symbol. Late at night, a child wanders through the streets of Jerusalem in search of the woman with golden breasts that once glimpsed.

In parallel, the camera, a character in its own right, investigates the daily reality of this divided city. It runs into invisible borders and, from fear of filming things that have already been filmed a thousand times, tries, without really succeeding, to escape the Jerusalem syndrome.

The Jerusalem Syndrome: a psychiatric syndrome, officially recognised in the 19th century, and from which the pilgrims and tourists that visited the Holy City suffered.

This iconoclastic film, midway betwen fiction and documentary, explores the "over-sacred" side of Jerusalem. A political gamble for its inhabitants, a myth for its visitors, Jerusalem remains the universal object of desire that borders on fetichism.

A camera visits Jerusalem looking for a new approach and in paralell a young boy wanders the streets and discovers one night a prostitute with golden breasts.

The boy, as does the camera, become victims of a violently feminine Jerusalem...


Some notes about the film... based on a text by Dan Dulberger

Every war imbues certain objects, signs or places with an importance not necessarily proportional to their primary strategic value. Having thus been imbued, such fetishes then serve as irrational reservoirs of attraction, obsession, and the inevitable clash between generations of conflicting parties.

Jerusalem is (since it has always been part of people’s fantasy) the fetish of the conflict between the European and Middle Eastern cultures. As the tension between the Muslim and the (now Judeo)-Christian worlds re-surfaces, the Jerusalem fetish is expected to reaffirm its archetypal influence on the antagonists’ sense of identity, purpose and mutual difference.

The Jerusalem fetish consists of a dome, a wall and a sepulchre. Within these competing architectures is embodied the perpetuation of their self-differentiation through the infantile fantasy of possessing something all to oneselfJerusalem itself has faded into insignificance behind the icons of a much disputed prize.

In this context, a documentary film about Jerusalem is, by definition, impossible. Aiming for an “authentic” image, in an existentialist sense, of whatever Jerusalem(s) “there” may be “out there”, the film finds itself confronted with manufactured images. All that remains to be done, is to render a picture of a pictureNot being able to penetrate the thick gloss of the image, we lose sight of the distinction between image and reality. One’s vision is constrained by the pre-existing image.

Since it is confronted from the start with a fetishist image, not with a reality to be imagined, all the camera can do is de-compose and de-fetishise it. All the freedom it has in such a situation derives from the act of taking the image apart, de-processing it back into the chaotic, primeval, fleeting stimulus.

It is a liberation of reality from the tyranny of the politicised image.

Jerusalem(s), Borderline Syndrome represents this effort.

The Jerusalem archetype is feminine, maternal - the dome is a breast. There is a constant rape of the symbol. The myriad offspring of Jerusalem the whore, come to convince her with their flattery that she should recognise each of them as her only son. But no-one is the only son. She has many. The living are of no importance to her. Jerusalem is a necrocracy. A city of the dead. The place of legitimate irrational resurrection for both religions.

The dual image - east-west - has actually taken over its referent. It is impossible today to form an impression of the city independently from this dual image. The image totally controls the field of vision of this city. It camouflages the city itself. Scratch the golden painted surface and you will discover its invisibility.


"JERUSALEM(S)” by Eyal Sivan

"A totally new atmosphere currently reigns over Jerusalem. For the first time in its bloody history, the City will perhaps soon live up to its mythical, and previously fictitious, name of “Jerusalem, City of Peace”. The politics surrounding the City may be no longer impede our vision. Today, just as everything suggests that the City will at last regain a peaceful existence, I want her to explain the mysterious adoration she enjoys.

More than a physical entity, Jerusalem is often perceived as a concept. Any talk about the city, any observation about the place becomes a way of appropriating it. But the city, like a teasingly seductive woman, shies away from those who would possess her. A visitor passing through may leave with a sense of satisfaction, perhaps due to the illusion of having fulfilled a fantasy. But the city’s inhabitants, who do not perceive it as a vast site of worship, are consciously frustrated. In the shadow of the myth, in the largest living museum of all time, it is very difficult for them to maintain their human dimension. Passionate, they sometimes prefer self-exile rather than to suffer this one-way love affair.

This is why I left Jerusalem, ten years ago.

Today, I return to the city of my childhood, my youth. The city that I left at the first opportunity. Scenery that I left without looking back. Places that I left without remorse. Abandoned memories. Forgotten friends.

This is the fulfilment of a fantasy, an act made possible only through film.

Jerusalem can tell her own story about the irrational love that mankind has for her, through archive footage, and present day film. Jerusalem is like a woman lying on a psychiatrist’s couch.

Seized with fear of filming over-cliched images, the camera tries hard, right up to the last scene, to fight the destiny that draws it irresistibly towards the couch.

Showing one’s home city, when it is a city like Jerusalem, not that there can be another like it, is to show an object of adoration and worship. Neither a tourist film, nor an historical presentation, nor a political investigation, rather a film made with the City as its starting point. The memory of how I saw the City as a child living there, a view neither too close, nor too distant, neither too hot nor too cold, not cynical, a film with a light sense of humour. The current research of an adult against the grain.

From East to West, she is observed. The whole world is in her possession. Her photo, as that of a lost wife or mother, hangs on walls, all over the world.

She had three lovers. The first took his son to slaughter; she kept her silence, in complicity. The second was tortured, crucified, she was stained by his blood; she remained imperturbable. The third left her on a white horse, he rose to heaven; and then her breasts were painted gold.

Three sons, of an unknown, unseen and indescribable yet ever present father, identified her as their mother.

“How did you become a whore, you the city of faith, home to thieves and murderers?” lamented the prophet Isaiah. King Solomon, who wrote The Song of Songs, admired her good looks. She has been in constant transformation, calm and golden, proud and solitary, seventeen times raped, twenty times ravaged, then rebuilt, dressed anew, ever more imposing, more beautiful, more courted. “Let us conquer her”, vaunted the Crusaders, “It is on her, in possessing her, that we shall find our deliverance.”

I saw it.

One day, at the corner of a narrow alley, through a barred window, in a vaulted room, a body was sprawled on the bed, the abused body hidden under layers of once sumptuous make-up, a large lady with golden breasts.

To think of yet another film about this place, about this geographic area, about this landscape, about this city, that perhaps exists only on postcards. To think that it is possible to add another image of this, the city of all clichés. An awesome project.

Jerusalem, city of historical symbols, city of the mad, city of the kitsch, necropolis of all passions. I return to Jerusalem to find my way, to find the view which, I hope, will take me to this woman, to shatter an illusion of my childhood.
Or perhaps not.”

Eyal Sivan, Paris, 1994

 «

A violence and a tension indicate us our presence in Jerusalem.
Nouvel Observateur

An ironical metaphore about a town overcome with a mad destiny.
Le Monde

The harshness of Eyal Sivan' eyes will give the shivers to more than one. His portrait of love and hatred, between attraction and repulsion, is worth a watch, if only because he takes the liberty of raising against the spiritually correct cliché of "holy city".
Tribune Juive

» 

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...


           

           

© La Sept ARTE [FR] l momento! l AMYTHOS [FR]

JERUSALEM(S), BORDERLINE SYNDROME

65 minutes | 16 mm | Colour | 4:3 | Stereo | 1994
OV : Hebrew & Arabic
Sub-titles : French, English, Spanish

A FILM WRITTEN AND DIRECTED BY
Eyal SIVAN

WITH
Dan DULBERGER
Amalia SAND
AND

Izak KONFINO
Shay LAUFER

IMAGE
Nurith AVIV
SOUND

Rémy ATTAL
EDITOR

Sylvie PONTOIZEAU
PRODUCTION MANAGER

Karin SIVAN
EXECUTIVE PRODUCER

Eyal SIVAN
ASSISTED BY
Armelle LABORIE
CAMERA ASSISTANT

Sophie CADET
GAFFER

Avi AVNAEEM
ASSISTED BY

Yuval GALRON
GRIP

Noam IZENBERG
ASSISTED BY

Ronen NEAMAN
2nd SOUND

Amir BUVERMAN
ART DIRECTOR

Judie LOMS
ASSISTED BY
Tom AZEN
MAKE UP
Déborah SHILO
SET PRODUCTION

Anat ASSULIN
Avi GALANTY
COORDINATION

Dany (Nokio) VERETÉ
Georges KHLEIFI
EDITING ASSISTANTS

Sylvie ADNIN
Jeanne MOUTARD
TRAINY

Maya CYPEL
ASSOCIATE
 PRODUCER
Amit BREUER
PRODUCTION CONSULTANT

Michel KHLEIFI
PRODUCTION
 ASSISTANT
Alice BOUCHER

AKNOWLEDGMENTS
Anwar ABU EISHEH - Dr Pierrette ANTONA - Luc BÉRANGER - Ruth BNIEL - Tomas ORLOWSKI - Elias SANBAR - Billy SEGAL - Philippe VERRIÈRE - Centre de Santé Mentale KFAR SHAUL - Salles Mondial Renaissance - Haute Autorité pour les Antiquités.

TEXTS
THE BIBLE
« AL-QUDS » by FAYROUZ
POEM BY Moudafar AL-NAWAB

ARCHIVES
IBA Israeli Television
AL-QUDS Television Production
OLP Culture Department

WITH THE PARTICIPATION OF
CENTRE NATIONAL DE LA CINÉMATOGRAPHIE
STOCK

KODAK
BASF

LABORATOTY
RANK FILM LABORATORIES
RENT MATERIAL
PRAXIMAGE
ON AIR
POST-PRODUCTION

SON POUR SON

 

...



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ISRALAND
 
A film by Eyal Sivan
Documentary | 1991 | 58 mn | color | 4:3 | OVST

During the Gulf war, 10 km from Tel-Aviv as bombs are dropping on the city, a Luna park called Israland is being built. The film tells the story of a few of the characters (israelians, palestinians and germans) taking part in the construction of the site. Their only common denominator is their work : the building of the Luna park where hatred is omnipresent.



During the Gulf war, 10 km from Tel-Aviv as bombs are dropping on the city, a Luna park called Israland is being built.
The film tells the story of a few of the characters taking part in the construction of the site : an Israeli mechanical digger driver, two Palestinian workmen, a German architect and sculptor and a Jewish real estate developer from Georgia. Their only common denominator is their work : the building of the Luna park where hatred is omnipresent.


Israland is the provisional name of a huge project south of Tel-Aviv in Israel. The film of the same name was shot on the project construction site during the Gulf War.

Israland is a mosaic of several opposing characters. Their only point in common is their workplace – the construction site.

Joseph, the night watchman sits on a pile of sand, listens and comments the news on the radio.

"There are more accidents than wars... We are not afraid..."

Avi, an Israeli machine operator, speaks of war and of hatred, he doesn't have any contact with the Arabs on the construction site.

"I realized we had to do our best for our country, try to build it ourselves, without the Arabs. They mustn't do anything. They should stay at home."

Abou Khadit and Abou Ramzi, Palestinian workmen, talk about their schedules and the hatred of Israelis.

"...Often after a day on the job site, I go back to find my home full of tear gas..."

"...The Jewish workman can do nothing for me since we're in the same boat, he too must work for a living, and so it's not his place to defend my rights."

Guershom, the architect, a German who converted to Judaism and became Israeli, designs sculptures and analyzes the situation as if he was not really a part of reality.

"This entire country is a vast amusement park, American style. As long as we continue to mess about, to want to emulate America, as long as we make no effort to be a part of the Middle East and completely fit in, it will be a catastrophe."

Khamis, the Palestinian worker, is busy constructing metal sculptures in the shape of flowers.

"...This rose is firmly rooted in the earth, deeper than the others. And another thing : Every time a petal is torn loose, others appear, more solid than its predecessors. One day the wind will no longer break the petals and our rose  will come to the sunlight like all the other flowers planted in this place..."

And Abraham the promotor, a carefree man, a Georgian multi-millionaire, who dreamed this project. An amusement Park, in the American style, called Israland.

"We're building a paradise on earth here, and believe me, I'll go to heaven for building this paradise...We put here everything that's supposed to be in heaven. Flowers, gardens, landscapes, that's paradise. We're doing this, we're building it in this world already. In the American style... maybe not... I would love people to say “In Israeli style”, Israel, it is not worse than America."

Le film Israland is a surreal metaphor on Israel or "Israel-Land", an enclave country; western enclave in the heart of the Middle East.

Le film is over, the construction is too. It opened after the war, under the name SUPERLAND.


«

An uncompromising and surrealistic metaphor.
Le Monde

Poem of real sources, Israland is a work of deep humanity.
L'Humanité Dimanche

A pleasant movie which shows with humour and lightness the dramatic and explosive reality of Israel. A philosophical and surrealist tale.
Télérama

» 

Download the full press kit in a PDF format at download media

 

...


           

           

© IMA Productions [FR] l FR3 [FR] l État d’Urgence Production [FR]

ISRALAND

58 minutes | Video | Colour | 4:3 | Stereo | 1991
Israel, Palestine
OV : Hebrew & Arabic
Sub-titles : French, Spanish

A film by
Eyal Sivan

With the participation of
Gershom von Chwarz, Israeli machine operator

Avi Metodi, Israeli machine operator
Abou Khadit, Palestinian workman
Joseph, night watchman
Khamis, Palestinian workman

Producer
Edgar Tenembaum
Author

Eyal Sivan
Cinematographer

Emmanuel Kadosh
Sound

Elie Taragan
Editor

Sylvie Pontoizeau

 

...



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COMMON STATE
Potential conversation 
A film by Eyal Sivan
Documentary | 2012 | 123 mn | color | 16:9 | Arabic, Hebrew | ST

Whereas the vision or the so-called solution of « two people – two States » in Palestine-Israel is dying a slow death, in the face of apocalyptical visions, an escalation of racism and an ongoing colonization and permanent repression on the part of Israel, Common State, A Potential Conversation, Eyal Sivan's new documentary film, shows a cinematographical encounter between Palestinian Arabs and Israeli Jews.



with the participation of: Ariella Azoulay, Omar Barghouti, Meron Benvenisti, Rozeen Bisharat, Eliaz Cohen, Leila Fersakh, Haim hanegbi, Sandi Hilal, Ala Hlehel, Hassan Jabareen, Yael Lerer, Gideon Levy, Roucham Marton, Hisham Naffa'a, Salman Natour, Ilan Pappe, Nurit Peled-Elhanan, Amnon Raz-Krakotzkin, Nadim Ruhana, Yehuda Shenhav, Ayelet Tzviel Haddad, Michel Warschwski, Khaled Ziadeh, Haneen Zouabi


Whereas the vision or the so-called solution of « two people – two States » in Palestine-Israel is dying a slow death, in the face of apocalyptical visions, an escalation of racism and an ongoing colonization and permanent repression on the part of Israel, Common State, A Potential Conversation, Eyal Sivan's new documentary film, shows a cinematographical encounter between Palestinian Arabs and Israeli Jews.
Twenty interviews were carried out on the theme of the common state with politicians and settlers, legal experts and artists, older and younger people, Ashkenazi and Sephardic Jews, Palestinian Arabs in Israel and in the occupied territories. The interviewees respond to the same questions in their mother tongue in discussion with the director, and the screen is split into two, with an Israeli Jew and a Palestinian in parallel, one listening and one talking and vice versa, thereby enacting a meeting point between two realities that are fragmented and separated from each other in daily life.

 AWARDS
-------------------------------------------------------------------------------------------------------------------------------------
JULIANO MER-KHAMIS PRIZE FOR BEST DOCUMENTARY
    Cinema South International Film Festival, Sderot, 2012

This DVD includes :

1 DVD Multizone  123 min | 16:9 | Dolby 0.2 | momento! 2012
OV : Arabic, Hebrew Subtitles : English
with: Ariella Azoulay, Omar Barghouti, Meron Benvenisti, Rozeen Bisharat, Eliaz Cohen, Leila Fersakh, Haim hanegbi, Sandi Hilal, Ala Hlehel, Hassan Jabareen, Yael Lerer, Gideon Levy, Roucham Marton, Hisham Naffa'a, Salman Natour, Ilan Pappe, Nurit Peled-Elhanan, Amnon Raz-Krakotzkin, Nadim Ruhana, Yehuda Shenhav, Ayelet Tzviel Haddad, Michel Warschwski, Khaled Ziadeh, Haneen Zouabi

180 €Price for Individuals

BURUNDI
Under Terror 
A film by Eyal Sivan
Documentary | 1996 | 13 mn | B/W | 16:9 | OVST



Burundi, 21st October 1993: the democratically elected President N’Dadaye is assassinated by a group of Tutsi officers.



Burundi21st October 1993: the democratically elected President N’Dadaye is assassinated by a group of Tutsi officers. 
Another round of reprisals and counter-attacks begins under pressure from the militia and extremist parties who encourage the racial hostilities and fan the flames of terror. There is one pogrom after another, with tens of thousands of people becoming refugees in their own country.


 

...


FESTIVALS SELECTION
----------------------------------------------------------------------------------------------------------------------------------------------------------------------- 
Rencontres Cinématographiques de Seine St Denis, Résistance, 1998
International Documentary Film Festival Amsterdam, 1996

 

           

           

© État d'urgence [FR] momento production [FR]  

BURUNDI, UNDER TERROR 

13 minutes | photo | B/W | 4:3 | stereo | 1996
Location : Burundi
OV : French
Sub-titles : French, English

A film directed and produced by 
Eyal SIVAN

Auteurs
Eyal Sivan & Alexis Cordesse
Photographe

Alexis Cordesse
Editor

Audrey Maurion

 

...



This movie is not available for sale in DVD for private use.

To purchase DVDs for institutions: Libraries & Institutions

AU SOMMET DE LA DESCENTE
 
A film by Eyal Sivan
fiction | 2001 | 33 mn | color | 4:3 | OV FR


Twenty-four hours in the life of a manic-depressive, going through a manic phase. Jackie Berroyer plays a patient out of treatment, facing an excitement period where the disorganization of his mental faculties echos in his social life.



 

Twenty-four hours in the life of a manic-depressive, going through a manic phase.

 

This movie, made at the request of the psychiatrist Christian Gay (St. Anne's Hospital), was originally intended for people affected by manic-depressive illness, also called bipolar disorder. While many documentaries and fiction films have been devoted to the depressive phase, this movie tackles the mania side (excitement phase). Jackie Berroyer plays a patient out of treatment, facing an excitement period where the disorganization of his mental faculties echos in his social life.



 

...


AWARDS
-------------------------------------------------------------------------------------------------------------------------------------

GRAND PRIX DE LA COMMUNICATION MÉDICALE, Festival de la communication médicale
    Deauville, 2001

GRAND PRIX DU FILM MÉDICAL
    Paris, 2001

           

           

© momento production

AU SOMMET DE LA DESCENTE
33 minutes
| Video | Colour | 4:3 | stereo | 2001
OV : French

With
Jackie Berroyer, Sophie-Hélène Château, Momo Azzouz, Abdel Belkhodja,
Mathias Bahuon, Jérémie Korenfeld, Camille Gay, Nathalie Dival, Julia Gay, Michel Boudin,
Gérard Salaberry, Marie-Odile Fanet, Nathalie Ganier-Raymond, Jean Gasnault,
Dr Christian Gay

A film by
Eyal Sivan

Production
Armelle Laborie
Script

Eyal Sivan and Armelle Laborie
with the collaboration of
Dr Christian Gay
Camera

Denis Larrue
Sound

Nathalie Vidal
Script girl

Nadia Chettab
Electrician-machine operator
Kamel Belaïd
Art and accessories
Anne-Marie Faux
Editor
Audrey Maurion
Sound editor
Coline Beuvelet
Mix
George Laffitte

 

 

...



This movie is not available for sale in DVD for private use.

To purchase DVDs for institutions: Libraries & Institutions



http://images.tvbase.net/v2/1176000-1176499/1176269250250.png Eyal Sivan is a documentary film maker and theoretician.

Born in 1964 in Haifa Israel and grow up in Jerusalem. Currently Eyal Sivan is Reader (associate professor) in media production and co-leading the MA program in Film, video and new media at the school of Humanities and social sciences, at the University of East London (UEL)

After exercising as a professional photographer in Tel-Aviv, he leaves Israel in 1985 and settled in Paris. Since he is sharing is time between Europe and Israel. Known for his controversial films, Sivan directed more than 10 worldwide awarded political documentaries and produced many others. His cinematographic body of work was shown and awarded various prizes in prestigious festivals. Beside worldwide theatrical releases and TV broadcasts, Sivan's films are regularly exhibit in major art shows around the world.
He publishes and lectures on the Israeli-Palestinian conflict, documentary filmmaking and ethics, political crimes and representation, political use of memory, genocide and representation, etc.
Sivan is the founder and artistic director of the Paris based documentary films production company momento! and the film distribution agency Scalpel. He is the founder and Chief Editor of South Cinema Notebooks - a journal of cinema and political critic edited by the Sapir academic college in Israel where he lectures regularly.
He is member of the editorial board of the Paris based publishing house La Fabrique, as well as of the French social and political studies journal De l'Autre Côté.
 

For more information, visit http://www.eyalsivan.net

 

http://www.laperipherie.fr/images/cordesse/portrait.jpg  Alexis Cordesse | Photographer | born in 1971 | French | lives in Malakoff, France


BOOKS & CATALOGS

2010 Lucien & Rodolf Hervé Prize, catalog, Vimagie, France.
2006 Clichy sans clichés, Editions Robert Delpire / Acte Sud.
2005 Du Beau Travail!, avec Zoé Varier, Editions Trans Photographic Press.
2004 Europa, l’esprit des villes, catalogue Septembre de la Photographie, Editions Lieux dits, France.
2004 Generation X, World Press Photo Masterclass – First Decade, Gijs Stork Publisher, Hollande.
2003 2/15 – The day the world say no to the war, Editions Hello, New York, USA.
2003 Strangers : The first ICP Triennial of Photography and Video, Editions Steidl, Allemagne.


AWARDS & GRANTS
 

2010 Lucien & Rodoph Hervé Prize.

2010 Shortlisted Neuflize-Vie Foundation Award.

2010 Grant of research, National Center for Visual Arts (CNAP), France.

1995 3rd price Observer Hodge Award.

1993 World Press Photo Masterclass.

1992 Agena Prize

 

 


POPULATIONS IN DANGER
Burundi/Rwanda/Afghanistan/Bosnia 
A film by Eyal Sivan & Alexis Cordesse
Documentary | 1997 | 4 X 13 mn | B/W | 16:9 | OVST


A view of the event through the people whose life is History, and a new outlook on "humanitarian photography".
This series was made in partnership with Doctors without Borders.



Itsembatsemba, Rwanda One Genocide Later
The genocide in Rwanda (Itsembatsemba) took place amongst general indifference. On the 6th April 1994, a fury of purification swept the country. Within one hundred days, soldiers and militiamen (Interhamwe) massacred at least 700,000 Tutsis. These images were taken two years after the genocide, in April 1996. The sound track comes from Radio Télévision Mille Collines (Thousand Hills Free Broadcasting) - RTLM - and dates from April to June 1994. RTLM began to transmit in 1991 with the help of the regime and played a key role in the unleashing and the co-ordination of the killing.



Burundi, Under Terror
Burundi, 21st October 1993: the democratically elected President N’Dadaye is assassinated by a group of Tutsi officers. Another round of reprisals and counter-attacks begins under pressure from the militia and extremist parties who encourage the racial hostilities and fan the flames of terror. There is one pogrom after another, with tens of thousands of people becoming refugees in their own country. 



Foca, Absolut Serbia
In April 1992, war broke out in Bosnia-Herzegovina. With help from the Yugoslavian army, the Bosnian-Serb militia seized two thirds of the territory, carrying out a campaign of terror against the Muslims and the Croats. This film was made in Foca, five years after the town was taken over by the Serb nationalists. The soundtrack is made up of interviews with the local population and of excerpts from the charges brought against the eight members of the local militia. There are no Muslims or Croats left in Foca at all, and the town is called Srebjne.



Kaboul, A Weary War
After ten years of russian occupation and three years of fighting against the pro-communist regime of Najibullah, in April 1992, Kabul fell into the hands of the Mujahadins. The Afghan capital, perviously spared, then became the scene of bloody fighting between rival groups of militia. The images used to make this film were taken in january and february 1995, when the capital was under siege.




«

On Itsembatsemba, Rwanda One Genocide Later:
Diverting the tone and format of the TV report, Eyal Sivan is pursuing his reflection on the representation of genocide and the political use of memory.
Connaissance des Arts

» 

Download the full press kit in PDF format at download media

AWARDS
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------

GOLDEN GATE AWARD
     San Fransisco International Film Festival, 1997

MENTION SPÉCIALE
     Festival international du film documentaire et court-métrages de Bilbao, 1997


FESTIVALS SELECTION
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------
     Itsembatsemba, Rwanda One Genocide Later

 Documenta XI, Cassel, 2002
 Internationale Kurzfilmtage Oberhausen, 2003
 International Human Rights Film Festival, Ramallah-Tel-Aviv, 2000
 Amnesty International Film Festival, Amsterdam, 1998
 Rencontres Cinématographiques de Seine St Denis, Résistance, 1998
 Human Rights Watch International Film Festival, 1997
 Festival Cinéma du Réel, Paris, 1997
 International Documentary Film Festival Amsterdam, 1996 

     Burundi, Under Terror
 Rencontres Cinématographiques de Seine St Denis, Résistance, 1998
 International Documentary Film Festival Amsterdam, 1996 


           

           

© État d'urgence [FR] momento production [FR]  

ITSEMBATSEMBA, RWANDA A GENOCIDE LATER

13 minutes | photo | B/W | 4:3 | stereo | 1996
Location : Rwanda
OV : Kinyarwanda
Sub-titles : French, English
 

A film directed and produced by 
Eyal SIVAN

Assisted by 
Armelle LABORIE
Image and Sound 
Alexis CORDESSE
Photo Prints
Carole DELRIEU
Editor
Michèle COURBOU
Sound Editor & Mix 
Eric LONNEUR
Sound Effects
Nicolas BECKER
Translations
Charles RUBAGUMYA
Written Texts 
Rony BRAUMAN
Sub-titles
Catherine NEUVE-EGLISE
Post-Production
Son pour Son
Etat d’Urgence Productions
Animation
Ercidan
Laboratories 
Mise au Point
Centrimage
Acknowledgments
Benjamin Bleton - Amit Breuer - Annette Gerlach - Céline Laborie
Madeleine Moukamabano - Christophe Picard - Jérôme Wirth Sam Productions
Médecins Sans Frontières - Reporters Sans Frontières - TheoPresse

 

© État d'urgence [FR] momento production [FR]  

BURUNDI, UNDER TERROR 

13 minutes | photo | B/W | 4:3 | stereo | 1996
Location : Burundi
OV : French
Sub-titles : French, English

A film directed and produced by 
Eyal SIVAN

Authors
Eyal Sivan & Alexis Cordesse
Image

Alexis Cordesse
Editor

Audrey Maurion

 

© État d'urgence [FR] momento production [FR]

FOCA, ABSOLUT SERBIA  

13 minutes | photo | B/W | 4:3 | stereo | 1996
Location : Bosnia
OV : Serbo-Croatian, French or English
Sub-titles : French, English

A film directed by
Alexis Cordesse

Authors
Eyal Sivan
Alexis Cordesse
Image

Alexis Cordesse
Sound engineers

Nicolas Becker
Editor

Maya Cypel 

 

© État d'urgence [FR] momento production [FR]

KABOUL, A WEARY WAR

13 minutes | photo | B/W | 4:3 | stereo | 1996
Location : Kaboul
OV : music
Sub-titles : French, English

A film directed by
Alexis Cordesse

Authors
Eyal Sivan
Alexis Cordesse
Image

Alexis Cordesse
Sound Engineers

Nicolas Becker
Editor

Maya Cypel

 

...


On Itsembatsemba, Rwanda One Genocide Later:

Diverting the tone and format of the TV report, Eyal Sivan is
pursuing his reflection on the representation of genocide and
the political use of memoryConnaissance des Arts

This DVD includes :

DVD5 [Multizone]  4 X 13 min | 16:9 | stereo | momento! 2009
OV : French, Serbo-Croatian, Kinyarwanda – ST : French, English
ISBN : 2-915683-13-1

14 €Price for Individuals



http://www.yidff.jp/2007/cat103/img/07c110t2f2.jpg Audrey Maurion is an editor.

She has studied philosophy at the Sorbonne. She lives in Paris where she works as an editor. She was chief editor for several long documentaries.

Filmography (Selection):
DIRECTOR
"De lʼeau, du riz, Porto Alegre, 2002", collective film
EDITOR
“Un spécialiste” by Eyal Sivan and Rony Brauman
“The last fall of Phnom Penh” by Dieudonnée Bergen
“Singing bridges” by Emmanuelle Sardou and Michel Vezina
“Au pays de citron” by Frédéric Touchard
“Un siècle de progrès sans merci” by Jean Druon
“En cas dʼurgence” by Christophe Otzenberger
“Week end à Tokyo” by Romain Slocombe and Jean-Pierre Tasso
“Qui je suis” by Bertrand Bonello
“Les yeux au plafond” by Mathieu Amalric


http://images.tvbase.net/v2/1176000-1176499/1176269250250.png Eyal Sivan is a documentary film maker and theoretician.

Born in 1964 in Haifa Israel and grow up in Jerusalem. Currently Eyal Sivan is Reader (associate professor) in media production and co-leading the MA program in Film, video and new media at the school of Humanities and social sciences, at the University of East London (UEL)

After exercising as a professional photographer in Tel-Aviv, he leaves Israel in 1985 and settled in Paris. Since he is sharing is time between Europe and Israel. Known for his controversial films, Sivan directed more than 10 worldwide awarded political documentaries and produced many others. His cinematographic body of work was shown and awarded various prizes in prestigious festivals. Beside worldwide theatrical releases and TV broadcasts, Sivan's films are regularly exhibit in major art shows around the world.
He publishes and lectures on the Israeli-Palestinian conflict, documentary filmmaking and ethics, political crimes and representation, political use of memory, genocide and representation, etc.
Sivan is the founder and artistic director of the Paris based documentary films production company momento! and the film distribution agency Scalpel. He is the founder and Chief Editor of South Cinema Notebooks - a journal of cinema and political critic edited by the Sapir academic college in Israel where he lectures regularly.
He is member of the editorial board of the Paris based publishing house La Fabrique, as well as of the French social and political studies journal De l'Autre Côté.

For more information, visit http://www.eyalsivan.net

 


I LOVE YOU ALL
 
A film by Eyal Sivan & Audrey Maurion
Documentary | 2004 | 88 mn | color | 16:9 | OVST

Monsieur B. a travaillé pendant vingt ans comme fonctionnaire “au service du public”. Par amour. Un amour inconditionnel et absolu pour son peuple. Un amour aveugle et destructeur. Pour l’amour du peuple est construit autour de son témoignage exceptionnel et d’images d’archives souvent inédites.



Monsieur B. a travaillé pendant vingt ans comme fonctionnaire “au service du public”. Par amour. Un amour inconditionnel et absolu pour son peuple. Un amour aveugle et destructeur. Il avait fait sienne la devise : “La confiance c’est bien, le contrôle c’est mieux.” Lorsque le vent tourne et que le régime dont il a fait partie change, il est rejeté et son environnement social s’effondre. Licencié de ce qui fut sa maison, Monsieur B. se retrouve alors sans perspective ni avenir. Il est seul dans ce bureau qui n’est désormais plus le sien. Lorsqu’il aura passé la porte, il ne reviendra plus.

En février 1990, quelques semaines après la chute du Mur de Berlin, le démantèlement du Ministère pour la Sécurité d’Etat est-Allemand est entamé. C’est la fin de la STASI. Le major B. était l’un de ses officiers. Il livre alors un récit détaillé sur sa vie et son travail depuis vingt ans au sein de cette institution.

Pour l’amour du peuple est construit autour de cet exceptionnel témoignage et d’images d’archives souvent inédites ; c’est un film sur la surveillance et l’aveuglement, sur la croyance et la désillusion.

«

 Tout l'art de ce film consiste préçisément à convoquer les images du passé pour surveiller le présent.
L'Humanité

Une radiographie passionnante et inquiétante de l'ingérence des dictatures et de la dévotion zélée de certains patriotes.
Ciné Live

Édifiant. Adopter le point de vue et la langue du pouvoir policier, c'est l'intelligence de ce film, bien plus perturbant qu'un réquisitoire.
Télérama

» 

Télécharger la revue de presse complète au format PDF dans médias à télécharger

SÉLECTIONS FESTIVALS
-----------------------------------------------------------------------------------------------------------------------------------------------------------
• Sélection officielle Festival de Berlin, Allemagne, 2004

• Buenos Aires International Independant Film Festival, Argentine, 2004
• Festival de Ghent, Belgique, 2004

            

            

© ARCAPIX [FR] et zéro film [ALL]

POUR L'AMOUR DU PEUPLE

88 minutes | Vidéo | Color, NB | 4:3 | Stéréo | 2004
Lieux de tournage : Allemagne et images d'archives
VO : allemand ou français
Sous-titres : anglais

Réalisateurs
Eyal Sivan et Audrey Maurion

 

inspiré du livre
“ Pour l’Amour du Peuple, un officier de la Stasi parle ”. Éditions Albin Michel

Adaptation
Eyal Sivan, Audrey Maurion, Aurélie Tyszblat
d’après une idée de
Gilles-Marie Tiné

avec la voix de
Hanns Zischler
Conseiller artistique
Cornelia Klauss
Montage

Audrey Maurion
Assistée de
Mirjam Strugalla, Nicolas Gundelwein
Recherche d’archives
Cornelia Klauss

Assistée de
Karin Fritzsche, Mirjam Strugalla

Directeur de la photo
Peter Badel

Prise de son
Werner Phillipp
Conception son
Audrey Maurion

Montage son
Audrey Maurion, Dirk W. Jacob
Sons additionnels
Nicolas Becker, Jean-Michel Levy

Mixage
Martin Steyer - Studio Label Public

Musique originale
Christian Steyer, Nicolas Becker
Direction de production
Tassilo Aschauer
Postproduction
Sylvain Foucher, Maggie Heins
 

Produit par
Gilles-Marie Tiné et Thomas Kufus
Une production
ARCAPIX et zero film

en coproduction avec
RBB – Rundfunk Berlin-Brandenburg

avec la participation de
Centre National de la Cinématographie, Ministère de la Culture et de la Communication
Deutsch-Französisches Filmabkommen der FAA, Medienboard Berlin-Brandenburg
Mitteldeutsche Medienförderung (MDM)
Bundesbeauftrage für Kultur und Medien
(BKM) et de TELEPOOL.

Développé avec l’aide du
programme MEDIA de l’Union Européenne

...



This movie is not available for sale in DVD for private use.

To purchase DVDs for institutions: Libraries & Institutions



http://gulfnews.com/polopoly_fs/michelle-khleifi-1.554663!image/807898668.jpg_gen/derivatives/box_475/807898668.jpg  Michel Khleifi was born in Nazareth in 1950 and lived there until 1970.

He studied television and theatre directing at the Institut National Supérieur des Arts du Spectacle (INSAS). After graduating from INSAS, he worked in Belgium television before turning to making his own films. He has directed and produced several documentary and feature films and received several prestigious awards including the International Critics’ Prize at the Cannes Film Festival, the Golden Shell at San Sebastián International Film Festival in 1987 for his film Wedding in Galilee. Michel Khleifi currently teaches at INSAS.

After Canticle of the Stones (1990) that tells the story of the Intifada between documentary and fiction, and Fertile Memory, Michel Khleifi had to wait for the Tale of the Three Jewels (1995) in order to regain his place in the Arab cinematographic scene.

His latest film, Zindeeq (2009), won the Muhr Award for Best Film at the Dubai Internationl Film Festival.


http://images.tvbase.net/v2/1176000-1176499/1176269250250.png   Eyal Sivan is a documentary film maker and theoretician.

Born in 1964 in Haifa Israel and grow up in Jerusalem. Currently Eyal Sivan is Reader (associate professor) in media production and co-leading the MA program in Film, video and new media at the school of Humanities and social sciences, at the University of East London (UEL). 
After exercising as a professional photographer in Tel-Aviv, he leaves Israel in 1985 and settled in Paris. Since he is sharing is time between Europe and Israel.
Known for his controversial films, Sivan directed more than 10 worldwide awarded political documentaries and produced many others. His cinematographic body of work was shown and awarded various prizes in prestigious festivals. Beside worldwide theatrical releases and TV broadcasts, Sivan's films are regularly exhibit in major art shows around the world.
He publishes and lectures on the Israeli-Palestinian conflict, documentary filmmaking and ethics, political crimes and representation, political use of memory, genocide and representation, etc.
Sivan is the founder and artistic director of the Paris based documentary films production company momento! and the film distribution agency Scalpel. He is the founder and Chief Editor of South Cinema Notebooks - a journal of cinema and political critic edited by the Sapir academic college in Israel where he lectures regularly.
He is member of the editorial board of the Paris based publishing house La Fabrique, as well as of the French social and political studies journal De l'Autre Côté.

 

For more information, visit http://www.eyalsivan.net

 


ROUTE 181
Fragments of a Journey in Palestine-Israel 
A film by Eyal Sivan & Michel Khleifi
Documentary | 2003 | 272 mn | color | 16:9 | OVST

In the summer of 2002, Eyal Sivan and Michel Khleifi traveled together for two months from the south to the north of their country. In order to take this journey in their homeland, they traced it on a roadmap and named it "route 181". A common vision of an Israeli and a Palestinian, a baffling voyage through Palestine-Israel.



Route 181, offers an unusual vision of the inhabitants of Palestine-Israel, a common vision of an Israeli and a Palestinian.

In the summer of 2002, for two long months, Eyal Sivan and Michel Khleifi travelled together from the south to the north of their country of birth, traced their trajectory on a map and called it Route 181. This virtual line follows the borders outlined in Resolution 181, which was adopted by the United Nations on November 29th 1947 to partition Palestine into two states.

As they travel along this route, they meet women and men, Israeli and Palestinian, young and old, civilians and soldiers, filming them in their everyday lives. Each of these characters has their own way of evoking the frontiers that separate them from their neighbours: concrete, barbed-wire, cynicism, humour, indifference, suspicion, aggression…Frontiers have been built on the hills and in the plains, on mountains and in valleys but above all inside the minds and souls of these two peoples and in the collective unconscious of both societies.

Route 181, Fragments of a Journey in Palestine-Israel, takes us on a disorientating journey across this tiny territory with vast ramifications.


 

ABOUT THE FILM

Route 181 follows the borders drawn up by UN Resolution 181 which was adopted by the UN on 29th November 1947 to separate Palestine into two states – one Jewish and one Arab. 56% of the territory was attributed to the Jewish minority while 43% was given to the Arab majority, with a small central area given over to international supervision.

Route 181, fragments of a journey in Palestine-Israel is divided into three chapters
Each chapter traces a part of "route 181" :

THE SOUTH, from the port city of Ashdod to the frontiers of the Gaza Strip.

THE CENTRE, from the Jewish-Arab city of Lod to Jerusalem.

THE NORTH, from Rosh Ha’ayn, near the new separation wall, to the Lebanese borders.

Both filmmakers are convinced that the situation in the Middle East is an ideological/pathological construct made by men, which can therefore be unmade by them.

Their journey was peripatetic and led them to the most arbitrary of encounters.

No appointments were organised beforehand, no personalities contacted, no “official” interlocutors.

Armed only with authorisations to film, they stopped and filmed : anonymous Israelis and Palestinians who speak of their lives, their experiences, their situations, their persoanl memories and understandings of what is happening around them today. These people speak also of tomorrow and what could become of them and their country.

This theoretical border, which was presented as a «solution», led to the outbreak of the first Arab-Israeli war and to a conflict, which remains far from resolved.

55 years later, the journey of these two filmmakers along “route 181” traces a border which never actually existed.

Michel Khleifi and Eyal Sivan wanted to take this joruney together to listen with the ears of the other and to come nearer, each with the help of the other, to those whom fear usually keeps apart.

To understand. To convey what is desired and experienced ; distinguish people’s dreams from political projects ; hear what one wants to forget; listen to the other – this is how this journey in search of a possible peace and a life together has the qualities of an initiation.


In their project notes, the two filmmakers write:

"Despite the tribal allegiances imposed on us, which we reject, and armed with our common experience, we decided to return to our country. By doing so, we wanted to unveil the geographic and mental reality in which the men and women of Palestine-Israel are living today.

"The demarcation line of the Partition Plan for Palestine, drawn up and voted by the UN in 1947, was the starting point of our film. For us, it represented both a documentary challenge and promises of a rich human adventure.

"Along this demarcation line, which does not in fact exist, we wanted to film, in a particular way, men and women, places, all previously unseen. During these chance meetings, we listened together to the varying sounds of people, to their passions and disillusionment. We provoked – in us but also in our interlocutors – a relationship of love in response to a daily reality saturated with danger and overwhelmed by death. The voices of those forgotten by official discourse will we hope, be heard – the voices of those who nonetheless constitute the majority in both societies, those in whose name wars are fought.

"We wished to construct a film which resists the idea that the only thing Israelis and Palestinians can do together is fight wars until they are both driven to oblivion."

This film does not have two points-of-view but a common one emanating from two complimentary visions. Whatever the unease which their journey may cause us, Michel Khleifi and Eyal Sivan invite us to follow in their footsteps.

 

TO THE SOUTH: From Ashdod to Gaza

Ashdod. On the seaside, a building site in progress. Israeli foremen, Chinese workers and Palestinian (Israeli citizen) surveyors are working together.

Gan Yavne is built on the ruins of Barkaa village. A fruit-juice saleswoman is running a small shop on the roadside. She speaks about the right to return. Further on, the manager of a building site refuses to speak about any political issues.

Kiriat Malahi. In his shop, a candy salesman, a Jew from Iraq, remembers his past. He tells us with nostalgia that, in the past, there were a lot of Palestinian villages around.

Shafir. In front of his house, a young high-tech engineer speaks about his neighbours, workers from the Gaza Strip. His father tells the story of this village, built in 1949 by European survivors.

In the museum of the kibboutz Yad Mordechai, an old pioneer tells how the Palestinian inhabitants were expelled towards the Gaza Strip.

Kibboutz Negba. A statue, a Stalinist-looking monument and a scale model of the kibbutz in its beginning remind us of the socialist dream underlying the Zionist project.

In Gaza, the Karni check-point is closed to any civilian access. Some goods trucks have to wait in front of the blocked borderline. No way to cross any of the other checkpoints all around the Gaza Strip.

The "concertina" is manufactured there. It is a special barbed wire with several layers, for which a patent was registered by the factory's owner. It sells very well, in Israel and abroad.

On the border with the Gaza Strip, an Israeli family visits the water reservoir of Nir Am and contemplates the Gaza Strip, which remains closed.

The retired military commandant of the Southern Region during the 1948 war is now the manager of the museum of Nir Am. He explains how the Negev was imposed on the UN Partition commission as a Jewish area. He concludes with his dreams for a tourist development on the frontier.

Beit HanounIt is forbidden to film in the military base. But it is allowed to film the electrical fence, which surrounds the Gaza Strip.

Not far from the frontier with Gaza, in the middle of nowhere, there is a white house that a member of Kibbutz Nir Oz wishes to transform into an art gallery.

The night falls on the deserted Erez check-point.

This evening, the Herzl House is rented out for the celebration of a great wedding.

 

THE CENTRE: From Lod City to the Jerusalem area

In the Centre for New Immigrants in Lod, Russian musicians play melodies from Eastern Europe to greet new immigrants just arrived from Ethiopia who seem visibly perplexed.

In front of the town hall, a group of Jews and Arabs from the movement "Living Together" [ta’yoush] demonstrate against the demolition of houses planned for the Arab districts of the cityAt the same time, the local council discusses these demolitions.

In the quarter called "ghetto", a woman who was political prisoner for years and her Jewish neighbour live side by sideIn his hairdressing salon, the old barber speaks about the expulsion of the Palestinian inhabitants of Lod (Lydd), a big Arab city before 1948.

On the way to the kibbutz Geser, a Jewish man from Russia regrets to have immigrated in Promised Land. Further on, a Bedouin leading his herd dreams of joining the Israeli army.

In Kibbutz Geser, a group of American Protestants from Kansas plant a few olive-trees as a solidarity gesture with Israel. The ceremony is conducted by a woman rabbi and her husband, both of them American Jews.

On the way to Jerusalem, the ruins of the Palestinian villages are visible.

In Kfar Binoun, a sculptor, son of Holocaust survivors, speaks about the ordeal suffered by his mother during the war. For him, building his personal heaven for himself and his family is a kind of revenge.

In Hulda, a guide of the Jewish National Fund welcomes the visitors to Herzl House in Hulda. Like all the Jewish villages built on the sides of the road to Jerusalem, Hulda was built on the ruins of a Palestinian village.

There are several military checkpoints on the road approaching Jerusalem.

Kalandia is the biggest military checkpoint between Jerusalem and Ramallah. This is also an opportunity to discuss with the duty soldiers about the importance of being polite.

In a military tribunal, a human rights Israeli lawyer defends young Palestinians accused of being suicide bombers. The court is under high surveillance. The families of the defendants are here. When the mothers try to kiss their sons, the young soldiers immediately stop them. It is forbidden to touch the defendants.

In Abou Dis, the big concrete wall cuts through the town. A Palestinian geographer explains that the settlement-building all around Jerusalem is part of a global colonisation strategy.

Several houses of suicide bombers’ families were dynamited during the night by the Israeli army. Then, entire families find themselves out on the street. They walk through the ruins of their houses expressing their anger.

Since a suicide-attack in Jerusalem was just announced, the zone is totally closed. At the Al-Ram check-point, a soldier spontaneously goes to the camera to give his explanations, which he wants to be transmitted all over the world.

Ramallah is totally empty, under curfew. The Israeli army is there, controlling any movement. From his tank, the commandant speaks about literature and philosophy.

The road between Bethleem and Beit Jala is closed. The guests of a Palestinian wedding that is to be celebrated there have to use small tracks and climb over piles of earthBut the military occupation is unable to prevent the wedding party from taking place.

 

TO THE NORTH: From the city of Rosh A’aiyn to the Lebanese border

In Rosh A'Aiyn, on the ruins of Majdal Sadek, a Jewish Yemenite jogger runs with his dog. There, he denies totally the destruction of any village in 1948.

The highway to the North is all new, like the separation wall built on its side.

Near Kalkylia, in a small archaeological place, the workers are Palestinian and the archaeologists Israeli. Next to it, workers are building the wall. They are Arab, Turkish-Bulgarian, Uzbek...

Surrounded by Israeli positions, the city of Kalkylia is under curfew.

In Tulkarem, soldiers stop a group of demonstrators from the Jewish-Arabic movement Ta’ayoush (living together). They have to cross the hills to bring food to the inhabitants of the Palestinian city under siege. Access is impossible.

In Bir Sika, inspectors of the Rabbinate inspect the harvest and ensure that it is kosher. The owner explains how he moved the borders of his land….

In the region of Emek Ysrael, at night fall, fighter planes come back to their military air base, in the middle of the Jezreel ValleyA jogger from a neighboring kibbutz thinks that the current settlements took the place of the yesterday's kibbutzim.

In kibbutz Yifat, employees of the Pioneer Settlement Museum perform a play which recounts the story of the first pioneers in front of young and old visitors.

The town of Lubia is in ruins. A group of Israeli teenagers, protected by an armed guard, walk where the town once stood.

The manager of the Museum of Sejera, an immigrant from the United Kingdom, describes his personal story as a continuation of the pioneers', who installed themselves here, at the beginning of the 20th century.

In Tura'An, an old Palestinian woman, surrounded by her grandchildren, speaks about her expulsion from Sejera, only 4 kilometres from there, where she used to live until 1948.

Next to the war memorial in Nujeidat, a group of Israeli Arab pupils discuss questions of identity.

An old man we meet at the entrance of kibbutz Farudspeaks in detail and without hesitation or compunction about how he took part in the expulsion of the Arab inhabitants of the North of Palestine during the war. This operation was called "Operation Broom".

In the village of Kfar Shammaï, a girl reads an inscription on a wall: "We had a dream. Now we have a maybe.A Jewish woman from Morocco explains how she took part, when she was a teenager, in the illegal immigration of Moroccan Jews.

Meron is a religious place. It is always bedlam. Everything can be bought, everything sold. In a mixture of deafening sounds, young religious men dance together.

In Shefer. He is a Jew from Morocco. She is a Jew from Tunisia. Both of them live together in the nostalgia of their countries of origin. “Our youngest son died during the Lebanon War” she tells us. Beside it, they are sure that Jewish and Arab peoples can live peacefully together, like it was in the past.

 

The sun falls on the barbed wire of the frontier with Lebanon.

«

Each interview is like a bombshell, the words exchanged are so full of confusion or hatred
Le Figaro

A film quite critical of Israel, overwhelming sometimes, but exciting and revealing
Le Monde

A great testimony, imbued with the desire to live and build together
France Soir

A documentary with the effect of a bomb
Télérama

A complete film, a successful documentary challenge
La Vie

Going against received ideas, the two filmmakers revisit the territories, to prove that "Palestinians and Israelis can make something together other than war"
Humanité Hebdo

» 

Download the full press kit in a PDF format at download media

AWARDS
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------

HUMAN RIGHTS FESTIVAL AWARD
    Paris, France, 2004
MAYOR AWARD, INTERNATIONAL DOCUMENTARY FILM FESTIVAL
    Yamagata, Japan, 2005


FESTIVALS SELECTION
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------
Festival du Monde Arabe, Montréal, 2003
Festival of Arab, Iranian and South Asian Films, New-York, 2003
Festival Cinéma du Réel, Paris 2004
Festival de Rabat, 2004
Festival Manifesta, San Sebastian, 2004
Festival de Carthage, 2004
Festival de Haïfa, 2004
Festival de San Fransisco, 2004
Festival de Washington, 2004
Festival “Filmer à tout prix”, Bruxelles 2004
Dokma Festival, Slovénie, 2004
Festival de Singapour, 2005
Festival de Philadelphie, 2005
Festival International de Jeonju, Seoul, 2005

           

           

© momento! [FR] l SOURAT FILMS [BE] l WDR [ALL] 


ROUTE 181, FRAGMENTS OF A JOURNEY IN PALESTINE-ISRAEL

272 minutes | Video | Colour | 16:9 anamorphic | Stereo | 2003
Location : Israel, Palestine
OV : Hebrew, Arabic
Sub-titles : French, English, Italian, Spanish, German, Hebrew, Arabic


A FILM WRITTEN, DIRECTED AND PRODUCED BY

Eyal Sivan & Michel Khleifi


PRODUCTION

ARMELLE LABORIE
CAMERA

Philippe Bellaïche
SOUND

Richard Verthé
EDITING

Sari Ezouz
Eyal Sivan
Michel Khleifi
SOUND EDITOR

SARI EZOUZ
SOUND DUBBING

STÉPHANE LARRAT

CO-PRODUCERS
OMAR AL-QATTAN, SINDIBAD FILMS LTD
WERNER DÜTSCH, Westdeutscher Rundfunk Köln
MICHEL KHLEIFI, SOURAT FILMS SPRL
ALAIN BOTTARELLI
IN ASSOCIATION WITH

ARTE France 
WITH SUPPORT FROM

Centre National de la Cinématographie

 

...


“Overwhelming sometimes, yet revealing and exciting” Le Monde
“A great testimony, imbued with the desire to live and build together”
France Soir

“A complete film, a successful documentary challenge” La Vie

This DVD includes :

4 DVD9 PAL BOXSET 402 min | 16:9 | Dolby 2.0 | momento production, 2004
OV : Arabic, Hebrew
Subtitles : French, English, Hebrew, Arabic, Spanish, Italian, German

BONUS [130 min]
deleted scenes + filmmakers interview + maps and documents
ISBN : 2-915683-00-X

34 €Price for Individuals



http://upload.wikimedia.org/wikipedia/commons/thumb/7/71/Rony_Brauman_p1200580.jpg/220px-Rony_Brauman_p1200580.jpg Rony Brauman is a Doctor of Medicine, specialised in tropical medicine, public health & epidemiology, born in 1950 in Jerusalem.

Chairman of Médecins Sans Frontières from 1982 to 1994, Rony Brauman has worked onnumerous medical relief missions throughout the world. Fascinated by the political and ethical issues raised by relief work, he has published articles on foreign aid, refugees, the relationship between relief work and politics, as well as critical analyses concerning the logistics of relief work and the latter's relationship with the media.

From 1992 to 1997, he was co-director of a post-graduate study group at the Paris Political Science Institute .Since 1998, he has been an associate professor at the University of Paris XII and co-producer to the radio programme Voix du Silence on France-Culture.

 Bibliography

•    Pourquoi je suis devenu... médecin humanitaire, propos recueillis par Frédéric Niel, Bayard, 2009
•    La discorde : Israël-Palestine, les Juifs, la France with Alain Finkielkraut and Elisabeth Lévy, Mille et une nuits, 2006
•    Aider, sauver : Pourquoi, comment ?, Bayard Centurion, 2006
•    Penser dans l’urgence : Parcours critique d’un humanitaire, Seuil, 2006 - interviews with Catherine Portevin
•    Norman G. Finkelstein, L'Industrie de l'Holocauste : réflexions sur l'exploitation de la souffrance des juifs (postface by Rony Brauman), La Fabrique, 2001
•    Utopies sanitaires, Le Pommier, 2000
•    Éloge de la désobéissance (Le Pommier, 1999, document for the film The Specialist, created from archive footage of the Eichmann trial, with Eyal Sivan)
•    Les médias et l’humanitaire 
•    Humanitaire : le dilemme, with Philippe Petit, Editions Textuel, 1996, 2002
•    L'action humanitaire, Flammarion, 1993, 2002
•    Devant le Mal. Rwanda, un génocide en direct, Arléa, 1994


http://images.tvbase.net/v2/1176000-1176499/1176269250250.png  Eyal Sivan is a documentary film maker and theoretician.

Born in 1964 in Haifa Israel and grow up in Jerusalem. Currently Eyal Sivan is Reader (associate professor) in media production and co-leading the MA program in Film, video and new media at the school of Humanities and social sciences, at the University of East London (UEL).

After exercising as a professional photographer in Tel-Aviv, he leaves Israel in 1985 and settled in Paris. Since he is sharing is time between Europe and Israel.
Known for his controversial films, Sivan directed more than 10 worldwide awarded political documentaries and produced many others. His cinematographic body of work was shown and awarded various prizes in prestigious festivals. Beside worldwide theatrical releases and TV broadcasts, Sivan's films are regularly exhibit in major art shows around the world.
He publishes and lectures on the Israeli-Palestinian conflict, documentary filmmaking and ethics, political crimes and representation, political use of memory, genocide and representation, etc.
Sivan is the founder and artistic director of the Paris based documentary films production company momento! and the film distribution agency Scalpel. He is the founder and Chief Editor of South Cinema Notebooks - a journal of cinema and political critic edited by the Sapir academic college in Israel where he lectures regularly.
He is member of the editorial board of the Paris based publishing house, La Fabrique, as well as of the French social and political studies journal De l'Autre Côté.



For more information, visit http://www.eyalsivan.net

 

 



THE SPECIALIST
Portrait of a Modern Criminal 
A film by Eyal Sivan & Rony Brauman
Documentary | 1999 | 128 mn | B/W | 4:3 | OVST

50 years after the Eichmann trial (Jerusalem, 1961), watch the film about "the extraordinary trial of a terribly ordinary man". It is an essay on obedience and responsibility, inspired by Eichmann in Jerusalem, a Report on the Banality of Evil written by Hannah Arendt, and directed by Eyal Sivan out of 350 hours of archives.



The Specialist is a courtroom drama painting the portrait of a zealous bureaucrat who has immense respect for the Law and hierarchy, a police official responsible of the elimination of several million people, a modern criminal.

The prosecution describes the accused as a blood-thirsty pervert, the Machiavellian liar and a serial-killer yet he appears as a quiet family man, both comic and terrifying in his banality. Although he doesn't deny the role he played in the criminal enterprise that he belonged to, he shelters behind the instructions of his superiors, his vow of allegiance and the obligation of obey orders.

He considers that his role as a mere agent, a purely administrative and logistic one, devoid of all passion, shelters him from the justice of men, even through it may not exempt him from all responsibility.

The accused, Adolf Eichmann, is a man of average height, in his fifties, shortsighted, nearly bald and wracked by nervous tics. Throughout his trial, he sits in a glass box, surrounded by neat piles of documents that he ceaselessly notes, re-reads and leafs through. An expert on emigration and specialist in the "Jewish issue", responsible for the transportation of "racial deportees" to the Nazis camps between 1941 and 1945, he describes his work with suffocating bureaucratic precision. Before the court and the witnesses who survived the hell that he consigned them to, he admits to having provided the death factories with human convoys for destruction. He struggles to show the conflict between his duty and his conscience and insists on the fact that no one can accuse him of having done his job badly.

Intoxicated on the dizziness of his own powerlessness, the accused describes himself as "a drop in the ocean, an instrument in the hands of superior forces". If he hadn't done it, he says, someone else would have done it instead.

The contrast between the monstrous nature of the crime and the mediocrity of the accused is immediately striking and becomes even more apparent during the thirteen scenes making up this documentary feature, revealing the portrait of a terrifyingly ordinary man. 

The Specialist is composed exclusively of the previously unseen 350 hours of footage recorded during the dramatic trial of the Nazi war criminal Adolf Eichmann, in Jerusalem in 1961. This film about obedience and responsibility portrays a specialist of problems solving, a modern criminal.


 


«

For all the questions it raises, The Specialist is an essential film, a work dusting people's conscience.
Historia

Eyal Sivan sketches a masterful reflection about disobedience-know-how as an essential component of our humanity.
Charlie Hebdo

The Specialist is an exemplary reflection on the banality of absolute evil.
Le Nouvel Observateur

Gripping, terrifying.
Télérama

The Specialist is a philosophical essay which clearly shows that cinema can be a tool for reflection and not just a vehicle for emotions. More than it is a duty to remember, it is a duty to think that the authors, Rony Brauman and Eyal Sivan, inspire; they wish to break the emotional opposition between the executioner and victim in order to lead us to consider what Hannah Arendt called "the banality of evil". (…) they claim the complete exercise of intelligence in order to reveal the deep structures of the human mind and of modern societies.
Le Figaro

You should watch The Specialist by Rony Brauman and Eyal Sivan. Watch and debate.
L’Histoire

(philosophical) film of the family of films with no family that invents a new form of history thinking, at a key moment in history.
Positif

Without hesitation, The Specialist may be the most important film made about the hitlerian "machine".
L’Autre Rive

» 

Download the full press kit in a PDF format at download media

AWARDS
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------

 ADOLF GRIMME AWARD
    Germany, 2001


FESTIVALS SELECTION
-----------------------------------------------------------------------------------------------------------------------------------------------------------------------

Berlin International Film Festival - Official Selection, 1999
Doc Aviv, Tel-Aviv, Israel, 1999
Internationales Dokumentarfilm Festival, München, 1999
Rio de Janeiro International Film Festival, 1999
Toronto International Film Festival, 1999
Mostra Internacional de Cinema, Sâo Paulo, 1999
Sheffield International Documentary Festival, 1999
Semana Internacional de Cine de Valladolid, 1999
Duisburger Filmwoche, Germany, 1999
Tubingen french film Festival, Germany, 1999
Australian International Documentary Conference, 1999
Festival France Cinema Firenze, Italy, 1999
Margaret Mead Film Festival, New York USA, 1999
Festival of Jewish Cinema, Melbourne-Sydney-Perth, Australia, 1999
Mumbai Festival of Films, India, 1999
International Meeting Cinema & History, Istanbul Turkey, 1999
Cinemateket Svenska Filminstitutet, Stockholm Sweden, 2000
Human Rights Watch Film Festival, London UK, 2000
Diagonale 2000 Graz, Austria, 2000
Hong Kong International Film Festival, 2000
Buenos Aires Festival Internacional de Cine Independiente, Argentina, 2000
INPUT 2000, Halifax Canada, 2000

            

            

© momento production [FR] | BIFF [ALL] IMAGE CRÉATION [BEL] AMYTHOS Film & TV Productions [ISR] LOTUS Film [AUT] FRANCE 2 Cinéma - Westdeutscher Rundfunk [ALL]  RTBF Télévision belge [BEL]

THE SPECIALIST

128 min | 35mm | B&W | 4:3 | Dolby SRD  | 1999
Location : archive footage

OV : Hebrew, German
Sub-titles :
French, English, Italian, Spanish, German, Hebrew, Arabic, Chinese, Japanese, Croatian

A FILM BY
Rony BRAUMAN & Eyal SIVAN

With

The Accused
Adolf EICHMANN
Defence Attorney

Robert SERVATIUS
Attorney General

Gideon HAUSNER
Assistant Attorney 

Gabriel BACH Ya'akov BAR OR
Presiding Judge

Moshe LANDAU
Judges 

Benjamin HALEVI
Yitzhak RAVEH

Based on « Eichmann in Jerusalem, a Report on the Banality of Evil » by Hannah Arendt
Viking Penguin USA Inc. 1963 - Gallimard 1966

Directed and produced by
Eyal SIVAN

based on footage recorded in 1961 in Jerusalem, at the Adolf Eichmann trial,
by
Léo HURWITZ

Executive Producer 
Armelle LABORIE
Film Editor

Audrey MAURION
Sound Editors
Nicolas BECKER

Audrey MAURION
Digital Lighting Design
Jean-Marc FABRE
Sound Design
Nicolas BECKER
Mix
Philippe BAUDHUIN

Thomas GAUDER
Original Music

Nicolas BECKER
Jean-Michel LEVY
Krishna LEVY
Yves ROBERT
Béatrice THIRIET
Production Manager
Yves SMADJA

Post-Production Advisor
Thierry NUTCHEY
Associate Producers

Martine BARBÉ
Amit BREUER
Erich LACKNER
Elke PETERS
Production Administrator
Marysette MOISSET, Hasdrubal
Assistant Director
Armelle LABORIE
Assistant Film Editors

Valérie PICO
Maya CYPEL
Assistant Sound Editors
Valérie PICO

Coline BEUVELET
Trainee Editors
Pauline LEMAIRE

Idit RICHARDOT
Production Assistants
Sophie ALBIAR

Chen-Li BAR-TZION
Elke BORMANN
Sabine BOURGEOIS
Barbara JOHR
Joanna GRUDZINSKA
Monika LENDL
Claudia LEVIN
Musicians

Thomas BLOCH - Glass harmonica
Jean-Michel LEVY - Guitares
Yves ROBERT - Trombone
Choir

Mélanges, dirigée par Ariel ALONSO

Archives
Israel State Archives
Steven Spielberg Jewish Film Archive Vendeuse : Marylin KOOLIK
United Studio Hertzelia
Archive Remastering Technical Pattern
Patrick D'ARTOIS
Technical Advisors for Archive Remastering
Mario SCLAIR - ON SET

GRAVITY Post-production
Archive Remastering Technicians
Tim RINGHAM

Alexander SHAPIRO - ON AIR
Alexander PAPIRO - ON AIR
Transcoding of Archive Footage
Damien MAUREL
Restoration Software Design

François HELT, DUST Restauration
DUST Restauration Technical Unit

Philippe CHATEL
Valérie LA TORRE
John MONTEGUT
Jean-François RIDAME
Logistics Management DUST Restauration & Shooting
Hervé de CANTELOUBE

Catherine GASIGLIA
INA Innovation
Maurice OLIVIER

Raymond PERRIN
Jean VARRA
INA Rights et Archives

Jean-Jacques DESSAUX
Digital Post-Production Co-ordinator

Armin ERTL, VOSS tv-ateliers
Digital Post-Production Supervisor

Stefan HELMKE
Digital Effects Supervisor

Carsten DIETZ
Computer Systems Supervisor
Rainer Maguhn
Head Special Effects Operator
Jörn Mayer
Digital Effects P
reparation
Frank NOCKE

André PAULSEN
Special Effects Operators

Uta Rath
Arndt Baumüller
Susa Lie
Daniel Brylka
Christiane Grunenberg
Martin Ofori
Deborah Bliklen
Martin Fritz
Computer Graphic Artists
Stéphanie MEE

Patricia MEDJAHED
Bernard MAGAU
Claire SCHNEE
Marcel Appelhans
Cara ERTL
Halis KAYA
Kay Klesing
Annke Kraemer
Dirk Schmidt
Tobias Schoden
Ulrike Wilhelmy
Video Conforming

Armin ERTL
Norbert FRERICH
Eric MARTIN
Digital Post-Production Assistants
Lisa DRECKMANN

Lucas Meyer-Hentschel
Grading
Jean-Pierre GALLET

Eduard HERMANN
Post-Production Sound Co-ordinator

Olivier REY
Sound Logistics Co-ordinator
Dominique JOCHMANS
Remastering Archive Sound

Yisraël DAVID
Music and Sound Effects Recording

Myriam RENÉ
Benoit MENAGER
Nathalie VIDAL
Stéphane WERNER
Sound Engineers
Eric LONNI

Raphaël SOHIER
Nathalie VIDAL
Recorders

François DE MAN
Luc THOMAS
Frédéric WARNOTTE
Optical Transfer

David GILLAIN
Frédéric PIROTTE
Researchers
Maira COHEN

Efrat MICHAELI
Translators

Philippa BENSON
Margarete GERBER
Abraham GERSHOVITZ
Sophie Francis KID
Anne KRAATZ
Tania KRAMER
Alexandra MULLER
Lisa NÜRNBERGER
Annie WEICH
Sub-title Adaptation

Rony BRAUMAN
Catherine NEUVE-EGLISE
Marie-Claude REVERDIN
Andreas WIRTH
Recording
I.N.A.

Studio L'Equipe
Studio Orlando
Son Pour Son
Mix Auditorium

Studio L'Equipe
Editing Equipment
 Interface GmbH Allemagne

Sony Austria GmbH
Digital Studios

UMT - France
ERCIDAN - France
VOSS tv-ateliers - Allemagne
Digital Image Processing

DUST Restauration - France
Digital Transfer to 35mm Film

Film Laboratories
CENTRIMAGE - NEYRAC
LISTO Film GmbH Autriche
Sub-titling

Ercidan - France
Titra Film - Autriche
Stills Laboratory

Mise au Point
International Transport

MIDNITE EXPRESS
Production Accountants

Philippe CHATILLON
Sandrine  JOUAULT
Certified Accountant

Sophie BARGE
Literary Agent
La Nouvelle Agence
Legal Advisors

Maître Sabine CORDESSE
Maître Patrick HAUDUCŒUR
Advocat Orna LIN
Maître Claudine MEYRAND
Press Attachée
Eva SIMONET
Credits

ERCIDAN
SYNCHRO FILM
Trailer

Franck LAMBERTZ
A Coproduction By
MOMENTO !  - France

BREMER INSTITUT FILM / FERNSEHEN - Germany
IMAGE CRÉATION - Belgium
AMYTHOS Film & TV Productions - Israel
LOTUS Film - Austria
FRANCE 2 Cinéma - Pierre HÉROS
Westdeutscher Rundfunk - Werner DÜTSCH
RTBF Télévision belge - Jacques VIERENDEELS & Ives SWENNEN

           

"A work dusting people’s conscienceHistoria
“Gripping, terrifying” Télérama
"Cinema can also be a tool for reflection and not just a vehicle for emotions" Le Figaro
"To watch and debate” L’Histoire

This DVD includes :

DVD 9 NTSC [1.2.3.4.5.6]  183 min | 4:3 | Dolby 5.1 | Montparnasse, 2000
OV : Hebrew, German  ST : French, English, German
BONUS  About The Specialist
interview
[60 min] of Rony Brauman and Eyal Sivan
extracts from the book "Éloge de la désobéissance" + trailer + chapters
ISBN : 2-915-683-09-3

20 €Price for Individuals



http://www.kultur-des-friedens.de/uploads/pics/khamis_01.jpg  Juliano Mer-Khamis ( جوليانو مير خميس ) is an actor, director, filmmaker and political activist, born in 1958 in Nazareth.

He is the son of Arna Mer, an Israeli activist for the rights of Palestinians and Saliba Khamis, an Arab and one of the leaders of the Israeli Communist Party in the 1950s.

In 2006, following a wave of international support which was followed by his film, Mer opened a community theater for children and adults in Jenin, called "The Freedom Theatre". The Freedom Theatre is a community theatre that provides opportunities for the children and youth of the Jenin Refugee Camp by developing skills, self-knowledge and confidence and using the creative process as a model for social change.

 


ARNA'S CHILDREN
 
A film by Juliano Mer Khamis
Documentary | 2004 | 84 mn | color | 16:9 | OVST

Yussef committed a suicide attack in 2001. Ashraf was killed by the Israeli army in 2002. Alla led a group of resistance fighters to his death in 2003. The director, who documented them as promising child actors in a theatre group he founded with his mother Arna, returns to Jenin Refugee Camp in April 2002, to see what happened to the children he knew and loved…



Yussef committed a suicide attack in 2001. Ashraf was killed by the Israeli army in 2002. Alla led a group of resistance fighters to his death in 2003. The director, who documented them as promising child actors in a theatre group he founded with his mother Arna, returns to Jenin Refugee Camp in April 2002, to see what happened to the children he knew and loved….

Juliano Mer Khamis is the son of Arna Mer, a Jewish woman, and Saliba Khamis, a Palestinian man. Today, Juliano is one of Israel/Palestine’s leading actors. During the first Intifada, his mother Arna established an alternative educational program in Jenin Refugee Camp to compensate for the virtual collapse of the formal one due to the Israeli occupation. Among its activities, was the ‘Stone Theatre’ – a performance workshop that Juliano directed. Eight years after Arna’s death, and  five years after the theatre project ended, Juliano returns to the Camp to discover the tragic story of “Arna’s children.”

«

A must-see documentary. Sure to spark controversy for its straightforward presentation of the Palestinian struggle, Arna's Children limns a devastating group portrait of the legacy of occupation.
Variety

Arna's Children offers a rare and poignant window into the lives and deaths of a lost generation of Palestinians.
The Washington Post

The film can be summed up in five words: a punch in the guts.
Israel Channel 2

» 

Download the full press kit in a PDF format at download media

AWARDS
-------------------------------------------------------------------------------------------------------------------------------------

BEST FEATURE DOCUMENTARY, Tribeca Film Festival
USA

FIPRESCI, BEST FIRST DOCUMENTARY, Hot Docs Film festival
Canada

BEST FIRST DOCUMENTARY, One World film festival
Czech Republic

THE DUTCH ACADEMY AWARD FOR BEST DOCUMENTARY
Holland, 2004

           

           

© Trabelsi productions [ISR] | Pieter van Huystee Film [HOLL] | IKON Television [HOLL]

ARNA'S CHILDREN

84 minutes | Video | 16:9 | Stereo | 2005
Location : Jenin, Palestine
OV : Arabic, Hebrew, English
Sub-titles : French

Author
Juliano Mer Khamis

Directors
Juliano Mer Khamis et Danniel Danniel

 

 

www.trabelsiproductions.com

"A mest-see documentary. An uncompromising representation of the Palestinian struggle" Variety
"A punch to the stomach"
Israel Channel 2
"A rare and poignant look on a lost generation of Palestinians" The Washington Post

This DVD includes :

DVD 5 [Multizone]  84 min | 4:3 | stereo | momento production, 2006
OV : Arabic, Hebrew, English ST : French
ISBN : 2-915683-04-2

19 €Price for Individuals



http://ak2.static.dailymotion.com/static/video/328/511/15115823:jpeg_preview_medium.jpg?20100731024859  Leïla Habchi

 



THE GARDENERS
of the Rue des Martyrs 
A film by Leïla Habchi & Benoît Prin
Documentary | 2003 | 81mn mn | color | 16:9 | OVST

Almost 40 years after the war in Algeria ended, in a workers’ garden in Tourcoing, a city in the North of France, French and Algerian men cultivate their piece of land. These men were the conscripts, National Liberation Front militants or “harkis” in a colonial war led by the French Republic.



Almost 40 years after the war in Algeria ended, in a workers’ garden in Tourcoing, a city in the North of France, French and Algerian men cultivate their piece of land. These men were the conscripts, National Liberation Front militants or “harkis” in a colonial war led by the French Republic.

This garden holds a place for memory of many aspects, where men who could have met at war or in the factory, get together. It is cultivating a vegetable garden, a universal activity above all, that brings them together.

Sharing from a distance a common history, considering each other with indifference or even hostility, for cultural, social or political reasons, they work side by side on the same patch of land.



«

It's the whole story, complex and painful, of the relationship between two inextricably linked countries, that emerges from these testimonies collected by Leïla Habchi and Benoît Prin.
Le Monde

The documentary brings subtly to light the bruised memory and the sometimes obliterated future.
Télérama

» 

Download the full press kit in a PDF format at download media

FESTIVALS SELECTION
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États généraux du documentaire de Lussas, 2003

           

           

© Momento l Vidéorème l Leitmotiv Production l C.R.R.A.V. l C9 Télévision

THE GARDENERS OF THE RUE DES MARTYRS
81 minutes
| Video | Colour | 16:9 | 2003
Location : France

 OV : French & Arabic
Sub-titles : French, English

To the memory of 
Omar HABCHI
A film by 

Leïla HABCHI et Benoît PRIN

 

With the kind participation of
Abdallah, Abderhaman, Ali, Allal, Amar, Ahmed and wife, Bachir, Chérif and wife, Edmond, Hammou, Jean, Lakhdar, Michel, Mohamed, Nordine, Raymond, Roger. As well as all of the gardeners of the rue des martyrs in Tourcoing.


A film directed and produced by
Leïla HABCHI et Benoît PRIN
assisted by

Linda CHORAB
Cinematography
Linda CHORAB
Leïla HABCHI
Sound
Benoît PRIN
Editors
Ruben KORENFELD
Corinne BACHY
Benoît PRIN
Assistant Editor

Eulalie KORENFELD
Sound Editor

Coline BEUVELET
On line Editing & Grading

Eric SALLERON
Translations

Leïla HABCHI
Linda CHORAB
Benoît PRIN
Executive Producer
Armelle LABORIE
Associate Producer
Eyal SIVAN
Associate Producers
Ourida FAHRI
Jérôme AMIMER
Christian LAMARCHE
François TAVERNIEZ
 

A coproduction of
Momento !
Vidéorème
Leitmotiv Production
CRRAV
C9 Télévision

Music
Bachir improvising "à la gesbah"
"Ya Malik Elmoulouk" by El Hadj M'Hamed ELANKA © Club du disque arabe

Technical Services
CRRAV
Vidéorème (Roubaix)
Collège de l'Europe (Tourcoing)
C9 Télévision (Lille)
GSARA (Bruxelles)
Sylicone (Paris)
Avidia (Paris)
 

With the help of
Centre national de la Cinématographie
La Région Nord-Pas de Calais
La Région Limousin, de l'Etat - Direction Régionale des Affaires Culturelles du Limousin,
Le Fond d'Action Sociale (F.A.S.)
La ville de Tourcoing
La Caisse des Dépôts et Consignations
La ville de Roubaix
La D.R.A.C. Nord – Pas de Calais
Le G.S.A.R.A. Bruxelles
Le collège de l'Europe de Tourcoing
C9 Télévision

Developed with the help of
MEDIA Programme of the European Community
 

Acknowledgments
Chabha ANSEUR, Zoubeïda ATHAMNIA, Samia AYEB, Luc BAELE, Abdelkader BENTOUIL, Moussa BOUBZIZ, Horia CHEUFRI, Patrice DEBOOSERE, Olivier DEROUSSEAU, Fadma EL BAZ, Jamal EZ ZOUAINE, Anne-Marie FAUX, Jean-René GENTY, Sonia GAUMONT, KERMIT, Mounir LAOUANI, Robert NAVARO, Samy NYUNUYANTU, Omar TARY.

 

...


"It's the whole story, complex and painful, of the relationship between two inextricably linked countries, that emerges from these testimonies collected by Leïla Habchi and Benoît Prin
Le Monde
The documentary brings subtly to light the bruised memory and the sometimes obliterated future” Télérama

This DVD includes :

1 DVD5 [PAL]  81 min | 16:9 | stereo | momento! 2003
OV : French, Arabic  ST : French, English
ISBN : 2-915683-03-4

14 €Price for Individuals



 Rachel Leah Jones is a director and a producer.

 Born in Berkeley, California and raised in Tel Aviv, Israel. She has a BA in Race, Class, & Gender Studies and an MFA in Media Arts Production. Her directorial credits include: 500 Dunam on the Moon (France/USA, 2002) and Gypsy Davy (Israel/Spain/USA, in production). Ashkenaz (Israel/Netherlands, 2007) is her 2nd film. Jones has worked on numerous socially and politically engaged documentaries in Israel/Palestine such as WALL, Citizen Bishara and The Bombing (dir. Simone Bitton) and Raging Dove, Café Noah and Warp and Weft (dir. Duki Dror). Over the years, she has been affiliated with various progressive media outlets such as the Alternative Information Center in Jerusalem where she worked as a researcher, writer and photo editor and the critically-acclaimed public TV/radio program Democracy Now! where she worked as a camerawoman and video editor.

 


500 DUNAM ON THE MOON
 
A film by Rachel Leah Jones
Documentary | 2002 | 47 mn | color | 16:9 | OVST


500 Dunam on the Moon is a documentary about the Palestinian village of Ayn Hawd which was captured and depopulated by Israeli forces in the 1948 war and subsequently transformed into a Jewish artist's colony and renamed Ein Hod.



500 Dunam on the Moon is a documentary about the Palestinian village of Ayn Hawd which was captured and depopulated by Israeli forces in the 1948 war and subsequently transformed into a Jewish artist's colony and renamed Ein Hod.
It tells the story of the village's original inhabitants who, after expulsion, settled only 1.5 kilometers away in the outlying hills. Since Israeli law prevents Palestinian refugees from returning to their homes, the refugees of Ayn Hawd established a new village: “Ayn Hawd al-Jadida” (The New Ayn Hawd). Ayn Hawd al-Jadida is an unrecognized village, which means that it receives no services such as electricity, water, or an access road. Relations between the artists and the refugees are complex: unlike most Israelis, the residents of Ein Hod know the Palestinians who lived there before them, since the latter have worked as hired hands for the former. Unlike most Palestinian refugees, the residents of Ayn Hawd al-Jadida know the Israelis who now occupy their homes, the art they produce, and the peculiar ways they try to deal with the fact that their society was created upon the ruins of another.

It echoes the story of indigenous peoples everywhere: oppression, resistance, and the struggle to negotiate the scars of the past with the needs of the present and the hopes for the future. Addressing the universal issues of colonization, landlessness, housing rights, gentrification, and cultural appropriation in the specific context of Israel/Palestine, 500 Dunam on the Moon documents the art of dispossession and the creativity of the dispossessed.

«

Rachel Leah Jones’s documentary 500 Dunam on the Moon unsettles the dominant Israeli narrative about the artists’ colony Ein Hod, founded in the wake of the dispossession of the Palestinian village Ayn Hawd, while giving the term “artists colony” an ironic twist. Within the film, the pictorial setting of the region does not serve a kind of a nostalgia for the exotic, but only highlights a multi-layered history of silence; the much glorified (“hod” of the Hebrew) hybrid architectural style that combines “East” and “West” has been literally built upon the ruins of Palestinian houses. Capturing this process from the perspective of the remaining Palestinian villagers, living on the outskirts of their old home, Jones’s film courageously puts the “present absentees” back, as it were, on the map.
Professor Ella Shohat, NYU

 

Of the many films in this year’s festival [Human Rights Watch] that deal with conflict in the Middle East, most seem to be sketches toward a movie... The exception is Rachel Leah Jones’ 500 Dunam on the Moon. Jones had the wit to seize on a revelatory topic for her picture and the patience to develop it fully.
The Nation

 

Rachel Leah Jones’ dispassionate tour of the village Ein Hod, nee Ayn Hawd, encapsulates the most bitter of Israel’s ironies: how a place of refuge created its own refugees.
The Village Voice

 

During the ongoing fever-pitched crisis in the Middle East, a film like 500 Dunam on the Moon seems essential... The movie is free of the usual rhetoric and hyperbole (from both sides), and shows one neighbor struggling along while the other prospers.
Gay City News 

» 

Downlaod complete press kit in a pdf format in  download media

AWARDS
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 Honorable mention and Jury's choice in Tres continentes
     festival internacional de documental, Buenos Aires, 2002


FESTIVALS SELECTION
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 Human right Watch Int. Film Festival, New York, 2002
 Human Right Watch Travelling film festival, 2002
 San Francisco Jewish Film Festival, 2002
 Fotofest Houston, 2002
 CinemaTexas, Austin, 2002
 Reel Jews Documentary Film Festival, New York, 2002
Arab Film Festival, San Francisco, 2002
Pictures of Palestine, Maine, 2002
Tiburon Int. Film Festival, 2003
PalArt Festival, Ecosse, 2003
Palestine/Israel : What can Cinema Do ? Paris-Bruxelles, 2003
DocFest Monthly, New York, 2003

           

           

© RLJ Productions [US] - momento production [FR]

500 DUNAM ON THE MOON
47 minutes
| Video | Colour | 16:9 anamorphic | Stereo | 2002
Location : Palestine-Israel
OV : Hebrew, Arabic
Sub-titles : English, French, Arabic, Hebrew

This film is dedicated to the refugees in Jenin 

A film directed and produced by
Rachel Leah Jones

Participants
Asim Abu al-Hayja, Fares Abu al-Hayja, Husni Abu al-Hayja, Khaled Abu al-Hayja,
Lina Abu al-Hayja, Mahmoud Abu al-Hayja, Muhammad Majed Abu al-Hayja,
Muhammad Mubarak Abu al-Hayja, Muhannad Abu al-Hayja, Raed Abu al-Hayja,
Raeda Abu al-Hayja, Saad Abu al-Hayja, Yasmin Lewis, Alon Yarkoni,
Eden Yarkoni, Yana Yarkoni and Tali Junger (Mlle Fifi)

Director of Photography
Philippe Bellaiche
Additional Camera
Duke Dror
Rachel Leah Jones
Sound
Dahna Abourahme
Editor
Ruben Korenfeld
Assistant Editor
Eulalie Korenfeld
Additional Editing
Angela Alston
Yael Bitton
Lorena Luciano
Sarah Schubart
Executive Producers
Ruben Korenfeld
Eyal Sivan
Associate Producers
Omar Al-Qattan
Yael Lerer
Production Manager
Armelle Laborie
Produced by
Momento! (Paris)
RLJ Productions (New York)
In Association with
France 2 (Paris)
Alternative Information Center (Jerusalem)
Sindibad Films (London)
Production Assistance
Ziad Abbas
Jason Benjamin
Randi Cecchine
Munir Fakher al-Din
Gabrielle Rubin
Production Stills
Ahlam Shibli
Translations
Munir Fakher al-Din
Wael Qattan
Bashar Tarabieh
Sub-titles
Catherine Neuve-Eglise
Post-Production Assistance
Yigal Nizri
Jaime Omar Yassin
Online Editor
Peter Elphick
Mix
David Lassalle
Color Grading
Isabelle Laclaux
Graphics & Web Design
Thierry Baudier
Jeffrey Yas
Accounting
Dinesh Kapadia
Marysette Moisset
Susan Steiger
Production Services
JCS (Jerusalem)
MCA/CCNY (New York)
Movie Mobile (Tel Aviv)
On Air (Jerusalem)
Petra (Jerusalem)
Scala (Tel Aviv)
Post-Production Services
CMC (Paris)
Downtown Avid (New York)
On Sight (London)
Radical Avid (New York)
Sylicone (Paris)

Archival Materials
Association of Forty
IBA Channel 1 Archive
Israel GPO Photo Archive
Israel Channel 2 Archive
Janco-Dada Museum
Axelrode Collection, Jerusalem Cinematheque
Yad Gertrude

Music
Kerkenah, Parfum De Gitane
Anouar Brahem
ECM Records, Munich

With the participation of
Centre National de la Cinématographie
With the Support of
Al-Jalil Foundation
B. Saperstein Communications Trust
The Foundation for Middle East Peace
New York Women in Film and Television
University Film and Video Association

Acknowledgments
Muhammad Mubarak Abu al-Hayja and family, Simone Bitton, Henry Chalfant,
Dave Dresser, Duke Dror, Munir Fakher al-Din, Linda Hawkins, Michel Khleifi,
Tamara Kohns, Judith Jones, David Jones, Martin Jones, Annie Mae and Victor Jones,
Yael Lerer, Barbara Lubin/MECA, Deirdre Sulka-Meister, Lea Tsemel, Michel Warschawski

Unité de programmes documentaires
Yves Jeanneau - Anne Roucan
Administratrice de production
Anh Roquet
Atelier de production
Clotilde Beslon

 

www.500dunam.com


This movie is not available for sale in DVD for private use.

To purchase DVDs for institutions: Libraries & Institutions



http://nyih.as.nyu.edu/props/IO/5937/42/small-dotan_shimon.gif  Shimon Dotan is an award winning Israeli director, producer et scriptwriter, born on 1949 in Adjud, Romania.

His films have awarded with the Silver Bear Award at the Berlin Film Festival (Best Actor, 1986, The Smile of the Lamb), the Israeli Academy Award (Best Director, 1982, Repeat Dive). His most recent film, the critically acclaimed Hot House, is a feature documentary exploring the emergence of Palestinian leadership in Israeli jails (Special Jury Prize in the category World Cinema - Documentary, Sundance Film Festival, 2007).

Dotan is teaching political cinema at NYU and has taught filmmaking at Tel Aviv University, at Concordia University in Montreal and at the New School University in New York. He is also a member of the Writers and Directors Guild of America.



HOT HOUSE
 
A film by Shimon Dotan
Documentary | 2006 | 90 mn | color | 16:9 | OVST

More than 10,000 Palestinians are imprisoned in Israeli jails today. They are called Security Prisoners. Israeli director Shimon Dotan takes us through the halls of this space which is reserved for maximum security detainees. This movie reveals their contact with Palestinian politics and how they get organized around it, all while imprisoned. 



More than 10,000 Palestinians are imprisoned in Israeli jails today. They are called Security Prisoners.
For most Israelis they are assassins and criminals. For most Palestinians they are heroes and freedom fighters.


Hot House is a documentary-feature that explores the emergence of Palestinian national leadership in Israeli prisons in light of the elections to the Palestinian Parliament. The film provides a unique opportunity to observe events of historic proportions at their nascent. It exposes the cycle of violence, the evolution of a conflict characterized by vast asymmetry in balance of power and the ethics of war.

 

...


AWARDS
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SUNDANCE FILM FESTIVAL, Jury's Special Prize
    World Cinema-Documentary,
2007


FESTIVALS SELECTION
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Human Rights Watch International Film Festival, London, 2007
3rd Santa Barbara Human Rights Film Festival, 2008
HotDocs, Canada, 2007
 Rotterdam, Hollande, 2007
 Human Rights Watch International Film Festival, New York, 2007
 Human Rights Watch International Film Festival, Chicago, 2007

           

           

© ALMA FILMS [ISR] TALISMA PRODUCTIONS [ISR] MEIMAD BARKAI PRODUCTIONS [ISR] CINEQUEST FILMS [CAN] ARTE [FR]

HOT HOUSE
90 minutes | Video | Colour | 16:9 | Stereo | 2006
Location : Israel, Palestine

OV : Arabic, Hebrew
Sub-titles : French, English

Author
Shimon Dotan

Production
Arik Berbstein
Jonathan Aroch
Dikla Barkal
Shimon Dotan
Image

Shai Goldman
Hanna Abu-Sana
Editor

Ayala Bengad
Music

Ron Klein

 

www.alma-films.com


This movie is not available for sale in DVD for private use.

To purchase DVDs for institutions: Libraries & Institutions


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2014

 

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