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Basically, Kafka’s Metamorphosis is unfilmable. After all, the author didn’t want visual representations to appear of the insect Gregor Samsa turned into; readers should visualise that themselves.
The Dust Channel is a cultural exquisite corpse: an operetta with a libretto in Russian about a British home appliance, a Dyson DC07 Vacuum Cleaner, set in an Israeli reality of private perversion and socio-political phobias. While each of these layers offers its own resonances and substrata, they share communal and individual forms of xenophobia from within the private sphere of leisure and pleasure, abundance and perversions.
Out presents a domination/ submission scene set in a mundane living room. The increasing pain prompts the sub to spew out not only cries of pleasure and pain, but also sentences. The scene thus connotes both confessions under torture, and rituals of exorcism. The utterances of the demon who speaks through the sub are all quotes of Avigdor Lieberman, one of the most extreme right wing politicians in Israel. The ritual is framed by two scenes. A preceding interview with the two participants seems at the beginning to be a straightforward documentary, but transforms into an exposition of the narrative premise by which one is possessed, the other an exorcist. The final musical scene is a song set to the words of the Russian poet Esenin’s Letter to Mother. Executed as a one-shot, the song is a direct, if twisted, homage to the final scene of another film that deals with radical sexuality and politics: Dusan Makavejev’s WR, The Mystery of the Organism.
In this monologue a legal theorist sets out to tackle the ways in which the Israeli military law in the occupied territories tackles the problems of circumscribing, defining, judging and punishing Palestinian children. The approach she tries is to imagine a listener removed in time and space. Her speech, however, lapses into musings on aging, illness and sexuality. A different cut of the monologue will be a part of a longer film entitled Kafka for Kids, but it can be experienced as an autonomous work.
Justine Frank was a Jewish Belgian painter and writer close to the Surrealists — an artist the world truly needed. Roee Rosen found her. He was also, via the mysterious Johanna Führer-Ha’sfari, involved with the translation of Frank’s magnum opus, Sueur douce (Sweet Sweat).
Like any other teenage girl, Tara is just surviving high school — yet her father and mother seem strangely distant. Amidst a nearby spree of gruesome ax murders, Tara has sightings of terrifying entities, forcing her to question her own sanity and shocking ancestry.
Follows a pair of siblings who love but distrust each other as they embark on a white-water rafting trip with a small group. One of their friends from childhood turns out to be more dangerous than he appears.
When the denizens of Littlehampton – including conservative Edith – begin receiving letters full of hilarious profanities, rowdy Irish migrant Rose is charged with the crime. Suspecting something amiss, the town's women band together to investigate.
Claiming that he doesn't know his own past, a rich man enlists an ex-con with an odd bit of detective work. Gregory Arkadin says he can't remember anything before the late 1920s, and convict Guy Van Stratten is happy to take the job of exploring his new acquaintance's life story. Guy's research turns up stunning details about his employer's past, and as his work seems linked to untimely deaths, the mystery surrounding Mr. Arkadin deepens.
On a mission deep in the Bolivian jungle, a team of elite commandos finds itself on the receiving end of a lethal betrayal. Now presumed dead, the men join forces with a mysterious operative named Aisha to hunt down their enemy and even the score.