In 1980, the black Falashas in Ethiopia are recognised as genuine Jews and are secretly carried to Israel. The day before the transport the son of a Jewish mother dies. In his place and with his name (Schlomo) she takes a Christian 9-year-old boy.

A drama about two families, each with a gay son. Jonathan is splitting from Miki because the more experienced Miki is playing around. Then Jonathan sees Thomas, the son and grandson of his neighbors, who is back in Israel after failing to make it as a musician in New York: Thomas is ill, detached, in search of hard drugs. Jonathan tries to connect with him. Meanwhile, Thomas's grandmother, facing old age, has become bitter, particularly toward her hard-working daughter. They worry about Thomas. A few blocks away, Jonathan's mother, brother and sister maintain their sometimes bickering relationships, watching Jonathan brave adulthood.

A member of an Israeli anti-terrorist unit clashes with a group of young radicals.

The fact that Yoel Kanovich didn’t report for the army reserve training he was summoned to is by no means his only problem. His marriage to Sigal is on the rocks, his father recently died of a heart attack, and on top of that he’s lost his job as a history teacher. His nerves apparently got the better of him during a lesson on the Balfour Declaration, of all things.

From 1977 to his untimely death in 1993, Amos Guttman directed six films, all of them deeply personal reflections of his own life. Interviews with lovers, family and friends--including some of the most important people in Israeli cinema--tell the gripping story of a strikingly handsome, charismatic and deeply passionate gay man who has become a revered cult figure in Israeli cinema.Interviews with the late filmmaker and fascinating footage of him on the set convey the same passion that comes through in scenes from his films, lovingly selected by documentarian Ran Kotzer. Like Fellini, Guttman transformed his dreams and everyday conversations with friends and family into integral parts of his pictures. He is most remarkable for his striking and original use of the frame. Every shot is a treasure. Amos Guttman dared to portray subjects that were taboo in his society, and his search for the right of individual expression is the connecting link of his works.