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Earlier this month, members of the Toronto Jewish community were given a rare opportunity to be visually transported back in time. The film, filmed in 1922, is called Hungry Hearts, and is based on the short stories of writer Anzia Yezierska, a Jewish woman born in Poland in the 1880s whose family immigrated to New York. Many of her writings are centered on her experiences and those of other immigrants living in the Lower East Side. Like all movies made at that time, it is silent, with dialogue conveyed by cue cards.
Follow Me: The Yoni Netanyahu Story is a documentary about the life of a true Israeli hero. But the film is not a mere recounting of the famous Entebbe Raid, it is an honest retrospective of the life of the young, academic, passionate and poetic son, brother, friend, boyfriend, and husband Lt. Col. Yonatan Netanyahu. And it shows a side of Israel that a 'Hasbara' campaign can't capture.
The 55-minute film, titled ‘Israel Inside’ and hosted by former Harvard lecturer Dr. Tal Ben Shahar, explores the core strength of Israelis that has enabled them to succeed against incredible odds.
A new feature-length documentary starring one of Harvard University’s all-time most popular professors reveals the secret components of Israel’s success as an international leader in innovation and humanitarianism.
Three years ago on the 8th of Nisan, 5769, an Arab terrorist with an axe ran into the center of our community of Bat Ayin and killed a 13 year old Shlomo Nativ. Every year before the anniversary of this terrible event, our community comes together to remember and honor Shlomo and his family and to connect with one another.
This week’s show kicks off with Yishai and Malkah talking about a recently released movie titled “Israel Inside”, which shows how Israel is leading the way in not only technology but also social innovation and creating a new atmosphere in the Middle East. Then, Yishai talks with Jeremy Sultan to understand the nitty gritty of the Migron saga.
If you asked someone to outline the profile of a director making a film on The New York Times’s coverage of the Holocaust, “non-Jewish,” “college student,” and “South Carolina native” would probably not be the first descriptors he would use. Yet, they perfectly fit the profile of Emily Harrold, a 21-year-old senior who is currently completing “Reporting on the Times,” a film inspired by Laurel Leff’s 2005 book, Buried by the Times: The Holocaust and America’s Most Important Newspaper.
In pre-Oscar television interviews, actors Shlomo Bar-Aba and Lior Ashkenazi, stars of the Israeli Oscar nominated "Footnote," which last night became the tenth Israeli nominee to not win the big prize – were telling anyone who would listen that it was definitely going to be Iran this year. And they were right. The Hollywood elite which decides these things gave the nod to Iran's "A Separation," from what we hear a fantastic family drama, and Director Asghar Farhadi has taken home the Oscar for best foreign language film. While Director Joseph Cedar, an observant Jew, went home empty handed for the second time in his career. Bummer.
Last April, NYU student Emily Harrold embarked on the production of a film exploring why The New York Times under-reported the Holocaust during the 1940s. Now, a little less than a year later, the project has expanded to more than twenty students.
Over the past several weeks, protests have spread throughout Israel calling for a response to racism targeting the country's Ethiopian community. Sparked by a Channel 2 story on discrimination in Kiryat Malachi, citizens have taken to the streets to show their outrage at the status quo.
"Shoa", a 9-hour French documentary about the Holocaust, will be broadcast for the first time by a Muslim country.
Many reviews already have appeared of "The Undefeated," the soon-to-be-released documentary about Sarah Palin's tenure in Alaska. Yet none of them - even in The Los Angeles Times, Huffington Post or Politico.com - mentions that nearly all of the film's many pro-Palin media talking heads are Jews.
"Miral" is a film that has garnered an inordinate amount of media attention. In interviews, the director, Julian Schnabel, defends his right to tell the Palestinian "narrative" for what he claims is the first time. He seems not to know that many others before him have specialized in this particular line of work.
In September I wrote in my Baseball Insider column (which appears the second week of each month in The Jewish Press) of my very positive reaction to an advanced screening of the new documentary "Jews and Baseball: An American Love Story."
New York has gone through a William Kentridge craze this year. There have been scattered exhibitions in galleries throughout the cities, in addition to lectures and live performances. From the blockbuster Five Themes show at the MoMA, the Metropolitan Opera's production of Kentridge's directed-and-designed multimedia version of Shostakovich's The Nose, the South African artist has been a dominant voice on the New York art scene. For those who missed the incredible MoMA retrospective-or for those who simply wish for another Kentridge fix-a final salvo can be caught at the Jewish Museum's exhibition of part of Kentridge's Nine Drawings for Projection series.
On its surface, The Pianist is "merely" the true tale of a great Jewish musician (Wladyslaw Szpilman) caught up in the unfathomable depths of Nazi occupation and terror. More profoundly, of course, it is a disturbing visual microcosm of the generic human struggle between good and evil, a titanic struggle that is sometimes utterly clear, but at other times also distressingly "gray." The Nazis in Poland were monsters, to be sure, but what are we to say about the others, including many Jews, who became actual and collaborative perpetrators in every corner of the Holocaust Kingdom? What pertinent lessons can we learn from this 2002 film for Jewish, and especially Israeli, preservation in our own perilous time?
I have been on the road non-stop. Different countries, different languages... but in every place that Hashem grants me the privilege of speaking, it is to my people that I speak. A special language connects us that transcends all difficulties, overcomes all barriers - the language of the heart. That language is part of our Jewish DNA. Hashem Himself engraved it in our souls - it speaks more powerfully than any words and brings tears to even the most hardened, alienated eyes.