介绍：When a private eye takes a case to find a missing university student, he must explore the deep dark depths of his own mind to uncover the truth around his own childhood disappearance as he tracks down the missing girl

介绍：即将高中毕业的劳拉准备踏入成人阶段，两段改变人生的旅程使她明白原来毕业后与家人、朋友和彼得的相处并非如想像中那样

介绍：《我妈妈是派对女孩》坎城影展金摄影机奖新锐导演又一揪心亲情力作现今法国东部福尔巴克，一家之主马利欧是个暖男熊爸，他人生中唯一的野心就是成就爱人与被爱，但与妻子离异后，他只能打掉重练，并且必须独自扶养两名已各有主见的青少女女儿，而他自己也像青少年一样面临尴尬处境

介绍：尼克被前女友莎拉狠狠地甩了之後，還是傻傻地當著她的工具人，為她到狗公園遛狗在那裡他遇見一位愛狗女子潔絲敏，兩人很快地發現彼此是真愛並陷入熱戀。只是當莎拉發現尼克開心的樣子，頓時心生不滿，決定想辦法破壞兩人的關係。兩人的關係陷入危機，得靠人類跟狗朋友幫忙，才有辦法扭轉劣勢。

介绍：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.                                                                      A new immigrant, Tzelnik, arrives at the port of Jaffa. He goes to live in the Negev desert where he opens a kiosk in the middle of nowhere. Mizrachi comes along and opens a competing business across the way. The two make a living by selling to each other. As there is nothing there, they decide to create a world out of their imagination. They build a cardboard film set, which slowly takes on real dimensions- the buildings turn to concrete, people come to audition for parts in the "film" (cinema verité style, with Zohar mocking viciously the pretensions of the "actresses") and builders come to build appartment buildings (mocking the glorification of concrete and  "heroic" settlement). In one sequence, Arab actors come and ask the filmmakers turn positive to negative, and they're given the role of pioneers who plow the land and sing zionist songs. The imagined world of the filmmakers becomes so real eventually they lose sight of the thin line between fantasy and reality.                                                                      Along the way there are also many references to other films and genres: the samurai flicks of Kurosawa, westerns, the pop films by Richard lester, the meal scene from Tom Jones and many others.                                                                      The film was made by a bunch of (very talented) friends Zohar gathered, and they shot it with their own funds, as a “collective flick”, another aspect of it that sets it apart from the rest of the production in the country