Another Look – The Restored European Film Project
“Another Look – The Restored European Film Project” marks a unique venture whose purpose is to raise awareness to both classic European cinema and the means by which it is preserved. Through the collaboration of the European Union and European embassies in Israel, this project annually presents various films, one from each of its participating nations, all in restored versions and high quality formats. These works are not only chosen for their artistic merit but because they meaningfully reflect on different facets of European film heritage. Taken together, they thus give evidence to the diversity of cinematic practice, as it evolved for over a century.
See also the Project’s website | Catalog 2013: Band of Brothers / From the Mouth of Babes (PDF) | Catalog 2014: Facing the Real / Flights of Fancy (PDF) | Catalog 2015: City Lights / The Rural Life (PDF) | Catalog 2016: Role Play – Femininity and Masculinity on Film (PDF) | Catalog 2017: Magnificent Obsession (PDF)
Press (2013): Ynet (Shmulik Duvdevani [Hebrew]) | Haaretz (Uri Klein [Hebrew]) | Habama (Nahum Mochiach [Hebrew]) | The Jerusalem Post (Hanna Brown [English]) | Haaretz (Nirit Anderman [English]) | MidnightEast (Ayelet Dekel [English])
Press (2014): Haaretz (Uri Klein [Hebrew]) | The Post (Einat Olivier [Hebrew]) | The City Mouse (Staff [Hebrew]) | Srita (Ofer Liebergall [Hebrew]) | Haaretz (Uri Klein [English]) | The Jerusalem Post (Hanna Brown [English]) | MidnightEast (Akin Ajayi [English])
Press (2015): Yediot Haifa (Yoram Mark-Reich [Hebrew]) | Haaretz (Uri Klein [Hebrew]) | Maariv (Meir Schnitzer [Hebrew]) | Seret (Ron Fogel [Hebrew]) | Srita (Ofer Liebergall [Hebrew]) | Globes (Matan Shiram [Hebrew]) | TLV1 Radio (Gilad Halpern [English]) | The Jerusalem Post (Hanna Brown [English]) | MidnightEast (Ayelet Dekel [English]) | Observator Cultural (Mihai Fulger [Romanian])
Press (2016): Walla (Avner Shavit [Hebrew]) | Haaretz (Uri Klein [Hebrew]) | Haaretz (Uri Klein – Interview [Hebrew]) | Maariv (Meir Schnitzer [Hebrew]) | Srita (Ofer Liebergal [Hebrew]) | Cinemascope (Yair Raveh [Hebrew]) | Yediot Acharonot (Benyamin Tobias [Hebrew]) | Channel 22 (Avri Gilad and Hila Korach [Hebrew]) | Reshet B ([Hebrew]) | Yediot Hasharon (Shai Markovich [Hebrew]) | Haaretz (Va’adat Hamidrug [Hebrew]) | Jerusalem Post (Hanna Brown [English]) | The Culture Trip (Pavlina Schultz [English]) | Essence (Ella Lavon [French])
Four Nuns and a Priest
Though rarely grouped as a genre, films about nuns and priests have garnered great success in various national contexts over the past century. The series “Four Nuns and a Priest” attempts to decipher the attraction behind these men and women of the cloth, wondering how they have become the focus of desires and fears regarding the physical and metaphysical, sexuality and spirituality, freedom and submission.
Mono-no-aware: In Search of Lost Time
In spite of its centrality to Japanese culture, the term “mono-no-aware” defies easy definition. Literally, it signifies “the pathos of things”, yet its meaning runs deeper, and relates to the sweet sadness which is evoked by the passage of time. This screening series shows how the feeling of “mono-no-aware” appears in films of different cultural contexts, and how it helps us cope with the fact of our impermanence.
Men on the Verge of a Nervous Breakdown
As the old song goes, “this is a man’s world.” But does this mean that, amidst pleasures of privilege, there is neither burden nor affliction? Covering over five decades, this series focuses on several male figures who have been pushed to the verge of insanity and beyond. Through their stories, we will come to know the pressures of accommodating to a masculine ideal, and the inevitable crises that ensue.
Dreams of an Empire
Nowadays the term “empire” may strike many as abstract. But this was not the case for millions of westerners living in the golden age of European imperialism. Though their majority rarely traveled outside the Continent, “empire” nevertheless became a vivid part of their imagination, largely due to films that pictured the colonies as the West’s exotic playground. This series explores how such dreams of an empire were shaped by western “colonial” cinema. It does so by presenting three “couplings” of colonialist films–one from the genre’s heyday (1930s) and one from its period of decline (post-WWII)–which address different dimensions of the imperialist dynamic: conquering, occupying, and fantasizing.