Israeli TV sitcom about a divorced couple trying to live their lives together.

Based on the novel by Belva Plain, covering a time span from 1909 to 1959. The story begins in New York's Lower East Side with the arrival of Polish-Jewish immigrant Anna (Lesley Ann Warren). At first employed as a humble seamstress, Anna is whisked into a whole new world when she becomes the wife of the enterprising Joseph Friedman (Armand Assante), who eventually becomes a wealthy Westchester contractor. Even so, Anna's heart belongs to Paul Lerner (Ian Shane), the son of the prosperous Fifth Avenue family which employs her relatives. In 1918, Anna gives birth to Paul's daughter, allowing Joseph to believe that he is the father. The secret surrounding Anna's child will lead to a daunting and frequently heartbreaking chain of events, culminating decades later in the newly formed state of Israel, where Anna's grandson Eric hopes to "find himself" -- and ends up finding more than he bargained for.

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.

This movie is a sequel to the saga of movies about 3 guys in the middle of the 50's during their sex urges and other funny incidents.

A handsome and successful surgeon, Dr. Dan Adam, sets out to refute a psychologist's thesis that "a man who recognizes his own self-worth will not kill or murder to solve his problems." Dr. Adam begins terrorizing the life of the psychologist and persecutes his wife and daughter.

The second chapter in Assi Dayan's trilogy centers on three marginal characters from "Life According to Agfa". Malka, a whore with a Romanian accent who dreams of becoming a singer, Levi, her pimp and Moshe, a homeless man who dreams that Malka will love him and follows Malka and Levi. Levi navigates the trio in a grotesque and turbulent world in which people have lost the purpose of their existence. The result is a black comedy that combines the elements of the film "Bourekas" with poetic enlightening moments, all in the special, confident and blatant style of Assi Dayan.

Audie plays a James Bond-type action hero assigned to destroy a Neo-Nazy weapons factory headed by nemesis George Sanders.

Yasha is a Jewish stage magician who tours through eastern Europe while destroying his career through personal problems. He has one more chance at theatrical success, but he needs to do a brand new trick in a Warsaw theater.

The 2008 iteration of the Festigal. An underwater adventure.

An adaptation of a popular Israeli stage musical. Kazablan is an army veteran turned gang leader in the Israeli port of Jaffa who masks his feelings of bitterness with a lot of bravado. He's sweet on Rachel, a young woman who lives with her father and stepmother. The budding relationship scandalizes the neighbors (not to mention Rachel's parents) and infuriates Yanush, a middle-aged shoe store owner who wants Rachel for himself. (Yanush feels he's entitled to marry Rachel since they're both Ashkenazi Jews of Eastern European origins, whereas Kazablan is a Sephardic Jew from Morocco.) The neighborhood has something else to worry about besides the antics of Kazablan and his gang: the city wants to tear down their crumbling homes. The residents pool their resources to save their houses, but the money that's collected is stolen. When he's jailed for the theft, Kazablan must find a way to clear himself.

A good-natured but incorrigible layabout becomes embroiled in a plot to rob the Israeli lottery, all the while indulging in his boundless zeal for mischief and romance.

Based on Ladislav Grossman's novel "The Bride", this drama was filmed back in 1984 in Tel Aviv, Jerusalem, then the crew stopped filming, because protagonist Lisa Hartman had to promote her feature film "Where The Boys Are '84" in the States and they finally finished it on location in Wasserburg, Germany!

The story of a soccer team, respectable families, a corrupt night club owner, and a young lad to guide all to a happy ending.

A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas’ “Hallelujah the hills” (1962), it’s an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics – parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch.

Two outcasts, a suicide bomber and an Israeli girl, fall in love during a desperate weekend in Tel Aviv.

A 32-year-old policeman trying to reconcile with the end of his marriage finds an abandoned baby in an ally, and is forced to take the infant home with him for the night