Sporting a droopy mustache and a sheepish smile, and dressed auteur-casual in a cloth jacket, rolled-up pants and work boots, filmmaker Ariel Kleiman’s appearance does not suggest the savage intensity of his films.
The first time I saw the horrific newsreels of the liberation of the concentration camps, showing mountains of skeletons piled up and skulls staring out of empty eye sockets, was in 1959.
When filmmaker Talya Lavie was growing up in the 1980s, Israel had only one television channel.
Movies have long been a mirror of our culture, reflecting the attitudes, morals and fashions of the times.
The Swedish film “The Last Sentence” opens with a 1933 newsreel of Adolf Hitler strutting as Germany’s new chancellor and ends with 1945 footage of Russian troops closing in on the Führer’s bunker.
Our film-going readers can look forward to an embarrassment of cinematic riches this summer, with an eclectic mix of movies promising something for almost everyone.
The long history of Jewish-Arab animosity is a hard thing to change, but that didn’t stop ballroom dance champion and choreographer Pierre Dulaine from trying, literally, one step at a time.
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