Thank god for India is a documentary that deals with the generation gap between young Israeli travelers in India and the conformities of society in Israel today . The film also takes a look at the new Israeli subculture that has developed in India as a result of this gap. The film follows 72 year old Amos Mosenzon , who decides to venture to the country he's always dreamed about - India . He asks permission from his 95 year - old mother , who doesn't understand why he has to go to India , of all places , instead of "civilized"countries , like France or Japan . Amos says farewell to his wife and takes off for a journey into the unknown .

At a time when the Israeli-Palestinian conflict has reached a stand still, the director has the courage to allow central figures of Matzpen to speak once again. Matzpen were an anti-Zionist group who were subject to abuse and social and political isolation in their native Israel for 35 years: because its members affirmed the legitimacy of the Palestinian claim to live in their own land.

Ia documentary about the root causes and present contradictions of the Palestinian-Israeli conflict, a deeply personal odyssey of discovery, and a surreal work of art combining poetry, music, and images both beautiful and horrific. While its subtitle is "Theological Political Fragments," the film ends by tying its many elements together in ways the viewer may not expect.

A palestinian home as seen by the Israeli government.

The birthday of this video's fictional filmmaker, Avi Mograbi (also the name of the real director), is the same day as the 50th jubilee anniversary of the founding of Israel, a day observed by Palestinians as "Al Nakba" or the Catastrophe. Mograbi is hired first by Israeli television to film the events leading up to the jubilee and then by a Palestinian producer who wants him to film the ruins of Palestinian villages and towns in Israel. To make matters worse, he is enmeshed in a real estate deal with his neighbours and enraged buyers arguing over property boundaries. The collision of these three anniversaries, two film jobs and a dispute over property lines takes this fictional "documentary" into the depths of Israeli and Palestinian daily life and a shared 50-year history.

Galoot (Exile in Hebrew) is an intimate saga that touches on the seeds of the pains and tragedies now transformed into the entrenched Palestinian/Israeli conflict. A temporary exile from his homeland allows an Israeli filmmaker to see the conflict with new and provocative eyes. Through his Palestinian and Israeli friends and through his and his wife's personal journeys, Galoot provides a reflective voyage through homes and deserted homelands in Israel, Palestine, Poland, Morocco and England.

On December 26, 2003, the Israeli Defense Force (IDF) deliberately shot at Gil Namati, a 21 year old Israeli protestor that demonstrated against the separation fence/wall. Gil was shot in both legs by two live bullets. The incident created a media storm and raised many question . What would have happened if the IDF didn't lie about the shooting of Gil Namati/ Would it have justified the actions taken by the security forces? Is there a difference between shooting a Jew and a non-Jew? This film is divided into three parts, the first part presents the investigation which was shown at the press conference and proved the IDF was lying about the reasons for the shooting, the second part criticizes the investigation itself and how the media reacted and portrayed the incident and the separation barrier, and the third part is a propaganda piece about the "danger" anarchism poses in Israel.

See America from the point of view of the Israeli ice cream truck vendor. This film is a documentary that portrays the neighborhoods of America through the point of view of the Israeli ice cream truck vendor. The film follows several such vendors in the city of Charlotte, North Carolina . The film follows the characters in their daily routine in cross cutting (in a parallel narrative). Throughout the film we learn about the different neighborhoods of Charlotte, and America - some segregated, some mixed. We learn about the vast differences in behavior, mentality, culture and way of life ? but when the ice cream truck comes to the neighborhood, everyone acts the same and wants the same thing: ice cream

“Avenge But One of My Two Eyes” is a ramble between three arenas at the height of the “El Aqsa” Intifada: the practice of the Masada cult, reinvented in the mid-1940s and interwoven with the leading Zionist discourse, the condition of oppression and besiegement of the Palestinian people in the occupied territories, and the continuous religious and secular cult of Samson, aka “Samson the Hero”. Real places, times and situations penetrate one another and integrate, presenting the Israeli reality as it is: embroiled, violent, suicidal.