Rabbi Avraham and his wife Esther have one son, Menachem, whose birth they regard as miraculous. Menachem's curiosity about the world is repeatedly stymied by his father, who in one instance forces him to rip up an "idolatrous" picture. Foreshadowed by an instance of Shiluach haken a trip to the Dead Sea, the eponymous "summer vacation.
Nous sommes en 1949 au Kazakhstan alors que l'URSS s'apprête à fêter les 70 ans de Joseph Staline. Ce qui n'empêche pas la répression et les déportations d'opposants de continuer. Dans un train de déportés vers le Kazakhstan meurt un vieil homme juif. Son petit-fils Sacha s'échappe du train aux côtés de sa dépouille, dissimulé parmi les cadavres. Il est recueilli par Kasym, un vieux garde-voie kazakh qui, pour le dissimuler aux yeux des autorités, le renomme Sabyr. Dans le village le long de la voie ferrée vivent en paix des gens d'origines très différentes. Mais le pressentiment d'une tragédie imminente est bien là.
Jordana Horn in The Jewish Daily Forward states that:
Budrus [is] a documentary by Julia Bacha that examines one West Bank town’s reaction to Israel’s construction of the security barrier. The town, with a population of 1,500, was set to be divided and encircled by the barrier, losing 300 acres of land and 3,000 olive trees. These trees were not only critical for economic survival but also sacred to the town’s intergenerational history. The film tells the story of Ayed Morrar, a Palestinian whose work for Fatah had led to five detentions in Israeli jails, but whose momentous strategic decision that the barrier would be best opposed by nonviolent resistance had far-reaching ramifications.
Simon Eskenazy, un grand interprète de musique traditionnelle juive, voit tour à tour revenir sa mère envahissante, son ex-femme et son fils de 10 ans qu'il n'a jamais vu. Parmi tout ça, il se démène comme il peut dans ses relations sentimentales entre un professeur de philo et Naïm, un jeune travesti musulman qui va changer sa vie...
Simon Eskanazy is a thirty-year-old gay musician. Born into a Jewish family, he took great pains to accept his homosexuality, and to get his family (including his mother and his uncle, Salomon) to do the same. The latter, Uncle Salomon is a wealthy banker who offered him a deal: he'll give him 10 million francs and will bequeath his mansion to Simon only if Simon agrees to marry a woman. First reluctant, he met Rosalie Baumann, a Jewish singer known for singing in Yiddish, she is very observant, and her parents live in the United States. Little by little, while getting to know her, Simon falls in love with her.
Irena Sendler (née Krzyżanowska) is a Catholic social worker who has sympathized with the Jews since her childhood, when her physician father died of typhus contracted while treating poor Jewish patients. When she initially proposes saving Jewish children from the Warsaw Ghetto, her idea is met with skepticism by fellow workers, her parish priest, and even her own mother Janina.
Kadosh is a bleak drama about the narrow Israeli secular perspective on the status of women in Haredi society. In the opening scene, Meir (Yoram Hattab), a caricature of a young Talmudic scholar, thanks God in his morning prayers for not being born a woman. At first, the marriage of Meir and his wife, Rivka (Yael Abecassis), appears tender and idyllic, but as the day progresses it becomes clear that Meir is obsessed with the fact that he is childless after ten years of marriage. Rivka's younger sister, Malka, marries Yosef in a match arranged by their parents, but loves Yaakov, a rock singer, who has abandoned the religious community.
The Polonski brothers, Abe, Ben and Josh, work together in their family's fabric store on the lower east side of Manhattan. Like any other Jewish family they go to their mother's to spend the Sabbath together. But one day, Josh is shot to death in the middle of the street in front of Abe's eyes.. For Ben the tragic situation has an explanation - the nightlife of Josh - but Abe wants to understand what happened. Following the path of his brother, he walks in the same foosteps, finding more and more of himself.
Klein plays Yaron the head of a counter terrorist organization. There is a hostage drama near the end of the film. Yaron's wife is pregnant. The film explores Yaron's difficulties in compartmentalizing his professional and domestic lives.
The film is a historical tragedy set during the opening stages of Israel's 1948 War of Independence. The film follows the fate of a group of refugees from the Holocaust who are illegally brought to Israel by the Palmach. When they arrive, they are chased by British soldiers. Once they escape, they are immediately drafted into the war, and take part in a grueling battle against Arab irregulars. The film centers on two long monologues, one by an Arab peasant who pledges to oppose the Jews forever; and one by an emotionally demolished refugee who laments the seemingly endless suffering of his people. Gitai intended the film to be a more realistic answer to the romanticized depiction of the war in Otto Preminger's Exodus. The final shot of Kedma is identical to the final shot of Preminger's film.
Dans la ville de Bat Yam, près de Tel Aviv, Avi Assaf, Kobi et Yaniv, trois miliciens juifs ultra-orthodoxes, font respecter violemment les préceptes de la religion juive, jusqu'à ce qu'Avi tombe amoureux de Miri (Zisman-Cohen), une nouvelle venue dans le quartier...
Dans les bars de Tel Aviv, la nuit, la réalisatrice demande à des jeunes Juifs s'ils auraient des relations sexuelles avec des Arabes, et à des jeunes Arabes s'ils feraient l'amour avec des Juifs. Chacun donne son avis, avec plus ou moins d'explications, sur le symbole que cela peut représenter pour eux (beaucoup l'ont déjà fait) ou au contraire leur refus. Des jeunes issus de familles mixtes (un parent juif, l'autre arabe) sont également interviewés. Le film recueille aussi les témoignages du journaliste Gideon Levy et de l'acteur Juliano Mer-Khamis, de mère juive et de père arabe, assassiné en 2011 par des Palestiniens à Jénine.
Instead of written credits at the beginning of the film, Gitai reads out the credits, introduces himself to the viewer, and explains that Alila is based on the novel Returning Lost Love. The rest of the movie is made up of forty individual single shot scenes depicting the lives of several Israelis. The character's lives overlap and collide. Gabi, a bobbed haired sexpot, and her lover Hezi—who's older, balding and married—rent a room to have an affair, while Ezra, a pot bellied divorcee, supervises an illegal construction site next door. All this racket drives Schwartz, a Holocaust survivor, to a mental breakdown. Other characters include illegal immigrants, a teenage boy who's afraid to serve in the army, and a corrupt police officer. In each scene the camera moves through walls, over desks, and around rooms in order to keep focused on the character it's following, in moments of drama as well as in moments of mudane daily activity.
Set in the summer of 2000, Mona (Clara Khoury), a young Druze woman living at Majdal Shams in the Golan Heights, is about to marry a successful Syrian actor. Following the hostilities between Israel and Syria there is now the demilitarised UNDOF zone between occupied Golan and Syria observed by United Nations staff. Crossing of the zone is extremely rare as it is only granted by both sides under special circumstances. It has taken 6 months to obtain permission from the Israeli administration for Mona to leave the Golan. When Mona crosses she will not be able to return to her family on the Golan even to visit. Mona is a bit hesitant also because she doesn't know her husband-to-be.