Ronit Elkabetz Movies

While Israel is a nation that has been in the center of the public eye ever since its birth, its national cinema has received relatively little attention, and only a handful of Israeli films have received extensive distribution outside the country. Raphael Nadjari at once addresses the story of filmmaking in Israel, the politics and aesthetics behind Israeli cinema, and how the nation's film industry has grown outside the interference of the west in this documentary. A History of Israeli Cinema is divided into two parts; the first half covers the years 1932 to 1978, beginning with Zionist films shot in Palestine by Jewish directors from Europe, and the second part is devoted to 1978-2005, when filmmakers embraced what locals critics called "The New Sensibility" and features with brave and defiant Sephardic heroes gave way to more nuanced fare dealing with the spiritual, political and ethical grey areas of a nation of immigrants. Along with extensive clips from a broad variety of key films, the documentary also includes interviews with noted film critic, actors and directors who talk about cinema and its role in a nation whose story is still being written. A History Of The Israeli Cinema received its world premiere at the 2009 Berlin Film Festival. ~ Mark Deming, All Movie Guide

It marked a grotesque and unseemly incident that took the European press by storm: in 2004, a young French woman came forward and claimed to have been attacked by black and Arabic thugs who mistook her for a Jew. But after her story broke, no witnesses came forward to support her, and security cameras at the train station revealed no such attack; the woman later admitted that she had ripped her own clothes, drawn swastikas on her own stomach, and fabricated the entire story. With the drama Fille du Rer, acclaimed French writer-director André Téchiné presents a thinly veiled fictionalization of the same events. Emilie Dequenne stars as Jeanne, an unemployed girl who lives with her mother (Catherine Deneuve) in a Parisian suburb and spends the majority of her free time rollerblading. She has little knowledge of -- or interest in -- history or politics, and remains withdrawn, insular, and sullen, keeping the majority of her thoughts and observations to herself. Circumstances change just a bit when Jeanne enters a live-in relationship with a beefy, thuggish, wrestler boyfriend, Franck (Nicolas Duvauchelle) living in a dingy warehouse, but violence soon erupts between the two. Jeanne ultimately takes a job for an attorney-cum-ex-boyfriend of her mother's (Michel Blanc) whose involvement in Judaic causes and politically committed family prompt even greater feelings of alienation and isolation in Jeanne. When Franck's involvement in criminal activities comes to light and the police intervene, Jeanne perversely reasons that she can only become tied to history by inventing a role for herself, and decides to fabricate said story about the train -- little realizing the calamitous consequences that it will engender. ~ Nathan Southern, All Movie Guide

Filmmakers Ronit Elkabetz and Shlomi Elkabetz revisit some of the characters from their 2004 picture Ve Lakachta Lecha Isha in this mordant examination of family life. It's 1991, the Middle East is still reeling from the impact of the Gulf War, and Ilana (Keren Mor) is an Israeli woman who has become a widow in the wake of her husband's unexpected death. After the funeral, members of the Ilana come to her home for the Jewish ritual of sitting shiva, in which the immediate family observes a week of prayer and contemplation as well-wishers visit. However, Ilana's family does not always get along, and as eight siblings and a number of parents, aunts, uncles and in-laws are brought together in close quarters, tensions rise to the surface over the course of the week. Haim (Moshe Ivgy) is a businessman whose firm is on the verge of bankruptcy after hiring a number of family members and close friends who've let him down. Viviane (Ronit Elkabetz) has left her husband Eliyahu (Simon Abkarian), though for some reason he thinks joining her for shiva will bring them back together, and she finds herself bickering with her sister and longtime rival Simone (Hanna Azoulay Hasfari). Jacques (Rafi Amzaleg) and his wife Lili (Yael Abecassis) are at each others throats, and Therese (Ruby Shoval) and Evelyne (Evelin Hagoel) sped most of their time in the kitchen, spreading malicious gossip about their relatives. Les Septs Jours (aka The Seven Days) was screened as part of the Critics Week series at the 2008 Cannes Film Festival. ~ Mark Deming, All Movie Guide

A girl struggles not to make the same mistakes that have tainted her mother's life in this drama from Israel. Or (Dana Ivgy) is a high-school-age girl living in a small Tel Aviv apartment with her mother Ruthie (Ronit Elkabetz). Ruthie has spent most of her life working as a prostitute, but with her health on the decline, Or has been forced to become the primary breadwinner in the household, washing dishes, cleaning an apartment building and collecting deposit bottles to help pay the rent when she's not busy with her studies. While Or has lined Ruthie up with a job as a domestic, Ruthie hates the work and finds herself drawn back into her life on the street, much to her daughter's displeasure. Meanwhile, Or has fallen in love with Ido (Meshar Cohen), a boy from her school, but Ido's mother knows what Ruthie does for a living, and doesn't approve of her son dating the daughter of a prostitute, especially as Or finds herself increasingly attracted to Ido. Or (My Treasure) was the first feature film from Israeli writer and director Keren Yedaya. ~ Mark Deming, All Movie Guide

Directed by Amos Gitai, Alila is based on Yehoshua Kenaz's novel Returning Lost Love and chronicles the trials and tribulations of every day life in Tel Aviv. Most of the film revolves around an apartment block on the working-class borders of Tel Aviv, where the trysts of residents Hezi (Amos Lavie) and Gabi (Yael Abecassis) attract their neighbors' attention, as does the unauthorized construction of an additional wing to the building. A neighboring family patriarch, meanwhile, is dealing with legal troubles (he hired illegal Chinese construction workers), the AWOL status of his son, and his wife's affair with a younger man. A Holocaust survivor (Yosef Carmon) and his Filipino housekeeper (Lyn Shiao Zamir) further illustrate the conflict between Jews, Jews of different extractions, and Arabs in the community. ~ Tracie Cooper, All Movie Guide

A Jewish Moroccan immigrant family living in Israel is nearly destroyed by conflicts resulting from generational differences in this arresting Israeli drama. It begins as Cheli, a successful but emotionally troubled talk show host who has been unable to deal with her traumatic childhood is traveling to attend her father's funeral. She is accompanied by her mentally ill sister Pnina and her adopted estranged daughter. It is a hellish trip and as they travel, flashbacks chronicle their painful youth. Rachel had always wanted to break away from her family's Moroccan heritage and so spent much time trying make herself fit in with her Israeli peers. She was humiliated by her poor, ignorant family. Her father was an overbearing, blindly religious fanatic and their mother was a witch who manipulated the family by casting spells. She feared her mother, and despised her insane sister, to whom she was very cruel. Cheli's older brother Shlomo was the most normal one in the bunch. But after he impregnated his girlfriend and took her to a midwife for an abortion, the girlfriend's angry brother retaliated by getting Pnina pregnant. Pnina's mother then cast a powerful spell and caused the hapless girl to miscarry. The culmination of their weird childhood came as Rachel was preparing to leave for prep school. Something horrible happened between the sisters and neither have been quite the same since. Though Cheli now feels guilty, she is too neurotic to make proper amends. The film is also titled Practical Magic and Sh'Chur. ~ Sandra Brennan, All Movie Guide