Late Marriage
Late Marriage is a 2001 Israeli film directed by Dover Kosashvili. The film centers on Zaza, the 31-year-old child of tradition-minded Georgian Jewish immigrants who are anxiously trying to arrange a marriage for him. Unbeknownst to them, he is secretly dating Judith; when his parents discover the relationship and violently intervene, Zaza must choose between his family traditions and his love. Most of the main characters are Georgian-Israeli and the dialogue is in the Judaeo-Georgian language and in Hebrew; the film was positively reviewed and was Israel's submission for Best Foreign Language Film at the 74th Academy Awards. Zaza is a 31-year-old Georgian-Israeli PhD student at Tel Aviv University whose family is trying to arrange a marriage for him within the Georgian community; the film's beginning sees Zaza and his parents Yasha and Lili visiting the home of a possible match, still in high school. Zaza is unenthusiastic and it is mentioned that he has seen dozens of prospective brides before this.
After dropping his parents off at their apartment building, Zaza drives to a pay phone and calls his girlfriend Judith, a 34-year-old Moroccan-Israeli divorcée who he is dating without his parents' knowledge. After Judith's daughter Madona has gone to bed, Zaza goes to her apartment and they have sex, in an explicit, naturalistic sequence. Meanwhile, Zaza's parents find that they have left their housekey in Zaza's car and spend the night at the home of relatives Simon and Margalit; when Zaza doesn't answer repeated phone calls during the night, Yasha concludes that he is with Judith. Judith is unacceptable to Zaza's parents because she is divorced, has a child, is older than Zaza. A number of Zaza's relatives stake out Judith's apartment building, planning to confront the couple and frighten Judith into leaving Zaza; the next time Zaza visits Judith they do just this, barging into Judith's apartment and attempting to break up the relationship through polite argument and threats of violence, as Madona watches, frightened.
At one point Simon takes down a decorative sword hanging on Judith's wall and holds it to her throat. Zaza and Judith say little, Zaza unconvincingly tells Judith that the relationship is over and leaves with his family. Zaza returns shortly after and attempts to resume the evening where it left off, but Judith tells him that she doesn't want to see him again. Back at his apartment, Zaza has a further confrontation with his parents; some time Zaza's parents return to Judith's apartment building. When Judith comes home, Lili approaches her and gives Madona a teddy bear as a peace offering, while Yasha stays in the car. Inside the apartment, Lili asks Judith. Judith says that she hasn't, but soon she tearfully admits that Zaza has been calling her and begging her to marry him. Judith has refused because Zaza's reaction when his family invaded her apartment made her realize that "he loves you more than me," and she has decided the relationship is bad for all concerned. Back in the car, Yasha asks Lili.
Lili, now more sympathetic toward Judith, tells him that they should wait and see if Zaza gets over her. The next scene opens with Zaza and Yasha standing next to each other at urinals in a public restroom, it becomes clear that they are at Zaza's wedding reception, Zaza is drunk. Zaza returns to the reception hall and gives a long, repetitive speech, while his new wife—who is not Judith—stands uncomfortably by his side, he tells the guests that he "has a woman on the side more beautiful than my wife," and drags Simon onstage to ask him to confirm this. Simon acts by bringing Zaza's mother on stage as Zaza's other woman, relieving the tension, Zaza and Lili embrace. Is this reference a Georgian wedding tradition too? For Zaza there are/have been two "other women", but the interview with Kosashvili quoted below, ends with him saying " knows that's not the right woman for him"; the film ends with Zaza and his bride dancing with the rest of his family, but for many viewers the question of, the right woman has been less clear.
Lior Ashkenazi as Zaza Ronit Elkabetz as Judith Moni Moshonov as Yasha Lili Kosashvili as Lili Aya Steinovitz as Ilana Rosina Kambus as Magouly Simon Chen as Simon Sapir Kugman as Madona Dina Doron as Luba Leonid Kanevsky as Otary Livia Chachmon Ayaliy as Margalit Eli Turi as Bessik Maria Ovanov as LaliLili Kosashvili, who plays Zaza's mother Lili, is the director's mother. The film was screened in the Un Certain Regard section at the 2001 Cannes Film Festival. Late Marriage was positively received by critics. Metacritic, which calculates a score from zero to 100 from a film's reviews, gave it a score of 82, translating to "Universal acclaim." Late Marriage was placed at 88 on Slant Magazine's best films of the 2000s. Won the Ophir Award for "Best Film" in 2001 The film was Israel's submission for the 74th Academy Award for Best Foreign Film. Late Marriage on IMDb Late Marriage at AllMovie
Bethlehem (film)
Bethlehem is a 2013 Israeli drama film directed by Yuval Adler. It was screened at the Venice Days section of the 2013 Venice Film Festival where it won the top prize, it was shown at 2013 Toronto International Film Festival. The film was selected as the Israeli entry for the Best Foreign Language Film at the 86th Academy Awards after winning six Ophir Awards including Best Screenplay, Best Director and Best Film, but it was not nominated. Tzachi Halevy as Razi Shadi Mar’i as Sanfur Hitham Omari as Badawi Michal Shtamler as Einat Tarik Kopty as Abu Ibrahim George Iskandar as Nasser Hisham Sulliman as Ibrahim The screenplay was written by Yuval Adler and Ali Waked from 2007 through 2010; the script went through multiple drafts and was influenced by research that the two conducted concomitantly to writing it, interviewing both Israeli Shin Bet operatives and Palestinian militants from Al-Aqsa Martyrs' Brigades and Hamas At the time of writing the screenplay, Ali Waked was a correspondent for Ynet covering Palestinian affairs.
Many incidents described in the film were directly influenced by actual events from the period. In 2010, the screenplay was included in the Berlinale co-production market which helped attach Belgian producers Entre Chien et Loup and German producers Gringo Films to the film. In January 2011, the Israeli Film Fund and the Jerusalem Film Funds gave their support to the project. English sales agent WestEnd picked up the film; the casting process took a year. The three lead actors in the film, Shadi Mar’i who plays Sanfur, Tsahi Halevi who plays Razi and Hitham Omari who plays Badawi, were non-professionals who had never acted in a film before. Omari, a Palestinian from Kafr'Aqab, was discovered accidentally during a location scout. Halevi was discovered. Mar'i, not 17 at the time of the shoot, was discovered after hundreds of teenagers were auditioned. Many of the extras and bit players were reenacting in the film scenes they experienced in their own lives; the film was shot digitally on Arri Alexa.
Principal photography lasted 29 days. The film was shot in Jerusalem, Bethlehem and Jaffa with a few additional days of reshoots in early 2012. Post production work was done in Germany; the Hollywood Reporter, "Israeli debutant director Yuval Adler finds tragic personal drama among the murderous power players of his troubled homeland." The Telegraph, "There are few wise men in Yuval Adler's Israeli thriller, which screened as part of the Venice Film Festival, writes Robbie Collin." Variety, "This wound clock-ticking thriller examines the Arab-Israeli conflict to impressive effect". New York Times, "The murky world of terrorism and counter-terrorism, the vicious circle of suspicion and betrayal in which all the players are locked, are well drawn in this gritty, suspenseful drama as the action moves toward its violent denouement. " Haaretz, "yet another Israeli propaganda film", "an outrageous film", "the Israelis are the good guys, the Arabs the bad guys", "distortion and concealment", "abominable", "one-dimensional".
Thedailybeast, "Brings the Occupation Back Into Our Homes" List of submissions to the 86th Academy Awards for Best Foreign Language Film List of Israeli submissions for the Academy Award for Best Foreign Language Film Bethlehem on IMDb Bethlehem at Rotten Tomatoes
Film
A film called a movie, motion picture, moving picture, or photoplay, is a series of still images that, when shown on a screen, create the illusion of moving images. This optical illusion causes the audience to perceive continuous motion between separate objects viewed in rapid succession; the process of filmmaking is both an industry. A film is created by photographing actual scenes with a motion-picture camera, by photographing drawings or miniature models using traditional animation techniques, by means of CGI and computer animation, or by a combination of some or all of these techniques, other visual effects; the word "cinema", short for cinematography, is used to refer to filmmaking and the film industry, to the art of filmmaking itself. The contemporary definition of cinema is the art of simulating experiences to communicate ideas, perceptions, beauty or atmosphere by the means of recorded or programmed moving images along with other sensory stimulations. Films were recorded onto plastic film through a photochemical process and shown through a movie projector onto a large screen.
Contemporary films are now fully digital through the entire process of production and exhibition, while films recorded in a photochemical form traditionally included an analogous optical soundtrack. Films are cultural artifacts created by specific cultures, they reflect those cultures. Film is considered to be an important art form, a source of popular entertainment, a powerful medium for educating—or indoctrinating—citizens; the visual basis of film gives it a universal power of communication. Some films have become popular worldwide attractions through the use of dubbing or subtitles to translate the dialog into other languages; the individual images that make up a film are called frames. In the projection of traditional celluloid films, a rotating shutter causes intervals of darkness as each frame, in turn, is moved into position to be projected, but the viewer does not notice the interruptions because of an effect known as persistence of vision, whereby the eye retains a visual image for a fraction of a second after its source disappears.
The perception of motion is due to a psychological effect called the phi phenomenon. The name "film" originates from the fact that photographic film has been the medium for recording and displaying motion pictures. Many other terms exist for an individual motion-picture, including picture, picture show, moving picture and flick; the most common term in the United States is movie. Common terms for the field in general include the big screen, the silver screen, the movies, cinema. In early years, the word sheet was sometimes used instead of screen. Preceding film in origin by thousands of years, early plays and dances had elements common to film: scripts, costumes, direction, audiences and scores. Much terminology used in film theory and criticism apply, such as mise en scène. Owing to the lack of any technology for doing so, the moving images and sounds could not be recorded for replaying as with film; the magic lantern created by Christiaan Huygens in the 1650s, could be used to project animation, achieved by various types of mechanical slides.
Two glass slides, one with the stationary part of the picture and the other with the part, to move, would be placed one on top of the other and projected together the moving slide would be hand-operated, either directly or by means of a lever or other mechanism. Chromotrope slides, which produced eye-dazzling displays of continuously cycling abstract geometrical patterns and colors, were operated by means of a small crank and pulley wheel that rotated a glass disc. In the mid-19th century, inventions such as Joseph Plateau's phenakistoscope and the zoetrope demonstrated that a designed sequence of drawings, showing phases of the changing appearance of objects in motion, would appear to show the objects moving if they were displayed one after the other at a sufficiently rapid rate; these devices relied on the phenomenon of persistence of vision to make the display appear continuous though the observer's view was blocked as each drawing rotated into the location where its predecessor had just been glimpsed.
Each sequence was limited to a small number of drawings twelve, so it could only show endlessly repeating cyclical motions. By the late 1880s, the last major device of this type, the praxinoscope, had been elaborated into a form that employed a long coiled band containing hundreds of images painted on glass and used the elements of a magic lantern to project them onto a screen; the use of sequences of photographs in such devices was limited to a few experiments with subjects photographed in a series of poses because the available emulsions were not sensitive enough to allow the short exposures needed to photograph subjects that were moving. The sensitivity was improved and in the late 1870s, Eadweard Muybridge created the first animated image sequences photographed in real-time. A row of cameras was used, each, in turn, capturing one image on a photographic glass plate, so the total number of images in each sequence was limited by the number of cameras, about two dozen at most. Muybridge used his system to analyze the movements of a wi
Ajami (film)
Ajami is a 2009 Israeli Arab drama film. Its plot is set in the Ajami neighborhood of Israel; the film contains five story lines, each of, presented in a non-chronological fashion. Some events are shown multiple times from varying perspectives. A young Israeli Arab boy, who lives in the Ajami neighborhood of Jaffa, narrates the film. In the first story, Nasri's neighbor—a teenage boy—is shot to death by a well-known Bedouin clan in a drive-by shooting while working on his car. Nasri explains that the intended target was his older brother Omar, who had sold the car to the neighbor; the botched hit was revenge for a loss of one of Bedouin clan members, shot and paralyzed by Nasri's uncle in a dispute. Nasri and his younger sister are sent to Jerusalem, while Omar, his mother, grandfather stay behind. Fearing for his family's safety, Omar seeks protection and guidance from Abu Elias, an affluent restaurant owner, well known and respected member of the Jaffa community. Abu Elias arranges for a three-day ceasefire, hires a lawyer to represent Omar in tribal court.
During this time and his sister return home. At the conclusion of the court session, the judge declares that Omar must pay tens of thousands of dinars—the equivalent of tens of thousands of US dollars—so peace can be restored. Omar is given three weeks to make good on his payment. Omar and his friend Shaata attempt petty crime in order to come up with the finances, but are unsuccessful at bringing in enough money. Omar's mother attempts to persuade him to escape with the family, but Omar refuses to leave, believing that there is no place to run to; the second story introduces a young teenaged boy named Malek who lives in the Palestinian territory of Nablus. Malek is illegally employed in Abu Elias's restaurant, works out of desperation to make enough money for his ailing mother's bone marrow transplant surgery. Malek is friends with Omar, who has become a recent employee at the restaurant, it is revealed that Omar, a Muslim, is in love with Abu Elias's daughter Hadir, a Christian. Abu Elias, once discovering the secret couple in the film by catching them in the surreptitious act of flirtation, does not approve of their relationship, angrily fires Omar, warning him to stay away from his daughter.
The third story shows a brief, but violent encounter between an older Jewish man and his three young drug dealing Arab neighbors. The dispute begins when the Jewish man complains to the young men that he has not been able to sleep, due to the fact that their bleating sheep keep him up all night; the disagreement soon escalates, one of the young men mortally stabs the Jewish man. The three young men go into hiding. Amongst the policemen who arrive at the scene is an Israeli officer named Dan, nicknamed Dando by his friends. Viewers learn that Dando's younger brother Yoni has gone missing during his service in the Israeli Defense Forces. While rumors circulate that Yoni may have run away and became religious, Dando's family—mother and father specifically—suspect that he may have been kidnapped or murdered by a Palestinian terrorist organization. Dando—a family man with a wife and kids—has remained strong for his broken family, as they make attempts at locating his brother. In the story, Dando is informed that the army has discovered the remains of what is believed to be a murdered Israeli soldier in the Palestinian territories.
It is soon thereafter confirmed that the remains are Yoni's, Dando—emotionally traumatized—vows to find the murderer and bring him to justice. In the fourth story, viewers learn of the character Binj an eccentric cook who works in Abu Elias's restaurant, he is close friends with Omar and Malek. Binj is in love with a Jewish girl from Tel Aviv, is thinking of moving in with her, much to the dismay of his group of friends, it is revealed that Binj's brother was one of the three involved in the stabbing of the Jewish man in Jaffa. Both Binj and his father are interrogated by the police. After his release, Binj reluctantly agrees to accept a great deal of drugs that belongs to his brother, still on the run. Early one morning, after a social gathering in his house, Binj awakes Malek so he won't be late to the restaurant's opening and hides in his presence the brick of drugs. Just when Malek is leaving he sees three Hebrew speaking men enter Binj's house; when Binj is found dead in his apartment not long afterward and Omar suspect that he was murdered by a group of Israeli drug dealers.
It is revealed that those three men were policemen who came to search Binj's house and intimidate him into revealing his brother's location. Having to leave after he told them nothing the police promises Binj to return. Binj, tired from the situation and annoyed by the ongoing harresment of the police, discarded the majority of the drugs, put sugar powder inside packages mimicking drug bricks and hid them around the house in an attempt to mock the police, should they return. Binj proceeds to snort the remainder of drugs he did not discard and accidentally dies of a drug overdose. All of this is unbeknownst to Malek and Omar who, after Binj's death, takes one of the hidden mock-drug packages and, thinking it is the drugs, decides to sell it to a drug dealer in an attempt to pay off their respective debts. Abu Elias learns of their plans and tips off the police, thinking Omar will be caught, thus ending the relationship between Omar and his daughter. Abu Elias fires Malek after learning of his involvement with drugs, but after Malek's pleading and after learning that Omar will not go alone to the exchange he changes his mind, instructs Malek
Footnote (film)
Footnote is a 2011 Israeli drama film written and directed by Joseph Cedar, starring Shlomo Bar'aba and Lior Ashkenazi. The plot revolves around the troubled relationship between a father and son who teach at the Talmud department of the Hebrew University of Jerusalem; the film won the Best Screenplay Award at the 2011 Cannes Film Festival. Footnote won nine prizes at the 2011 Ophir Awards, becoming Israel's entry for the 84th Academy Awards for Best Foreign Language Film. On 18 January 2012, the film was named as one of the nine shortlisted entries for the Oscars. On 24 January 2012, the film was nominated for an Academy Award in the category of Best Foreign Language Film, but lost to the Iranian film A Separation. Eliezer Shkolnik is a philologist who researches the different versions and phrasings of the Jerusalem Talmud, he and his son Uriel are both professors at the Talmudic Research department of the Hebrew University of Jerusalem. Uriel, a charismatic academic, is popular with the department's students and the general public, is recognized by the establishment when he is elected member of the Israel Academy of Sciences and Humanities.
The father, on the other hand, is a stubborn old-school purist in his research methods. He is unpopular and frustrated by his would-be lifetime research achievement having gone unfulfilled, as a rival scholar, Prof. Yehuda Grossman, published similar results one month ahead of Eliezer. Eliezer is highly critical of the new methods of research used by his son and other modern researchers, as he considers them superficial, his ambition is to be recognized by being awarded the Israel Prize, but he is disappointed every year when he does not win it. His nature and the lack of recognition have made him bitter, anti-social, envious of his son's popularity. Eliezer receives a phone call from the Minister of Education, she tells Eliezer that he was elected this year's laureate of the Israel Prize and congratulates him. The following day Uriel is summoned to an urgent meeting with the Israel Prize committee. Uriel is told that an error had occurred and that in fact it was he, not his father, awarded the Israel Prize.
The committee wishes to discuss ways to correct the error, but Uriel objects, saying the revelation would devastate his father. Uriel and the head of the committee, argue over the issue until Uriel loses his temper and shoves Grossman. Regretting his outburst, Uriel relents, asks that the committee permit him to break the news to his father personally. During the meeting Uriel says he has been submitting his father's name for the Israel Prize every year, accuses Grossman of blocking that and other ways of recognizing Eliezer. According to Grossman, Eliezer never published anything significant in his career, his only claim to fame is being mentioned as a footnote in the work of a more famous scholar. Uriel goes to the National Library to break the news to his father but finds him raising a toast to winning the prize with colleagues. Unable to break the news, he once again meets with Grossman, asking that the prize be given to Eliezer. Grossman relents but with two conditions: Uriel must write the committee's recommendation and Uriel can never be a candidate for the prize.
Uriel agrees. Uriel writes the recommendation text and choosing every word carefully; when the interview is published, Uriel keeps his secret. Though, he whispers the secret to his mother, she does not disclose the truth to anyone else. During preparations for a television interview, Eliezer is struck by an uncommon Talmudic expression in the Israel Prize committee's recommendation, he flees the television studio and returns to his study. He examines the expression, cross-checking its published uses, realizes that the text must have been written by Uriel. Eliezer reconstructs his phone conversation with the Minister of Education, realizing she had addressed him by his last name only, he concludes that the minister thought she was talking to his son when she broke the news about the Israel Prize. On the day of the prize ceremony and his wife arrive at the Jerusalem International Convention Center to prepare for the ceremony; the movie ends a moment. Shlomo Bar Aba as Eliezer Shkolnik Lior Ashkenazi as Uriel Shkolnik Alisa Rosen as Yehudit Shkolnik Alma Zack as Dikla Shkolnik Daniel Markovich as Josh Shkolnik Micah Lewensohn as Yehuda Grossman Yuval Scharf as Noa the reporter Nevo Kimchi as Yair Fingerhut Yona Elian as Yuli Tamir, Minister of Education Director Joseph Cedar explained why he chose to make a film that focuses on Hebrew University's Talmud department: "It is the smallest department in the university, but it is famous worldwide for its uncompromising methods, its unforgiving attitude toward the notion of'mistake'.
Once I started hearing stories from within this department, about mythological rivalries between scholars, stubbornness on an epic scale, eccentric professors who live with an academic mission, bigger than life itself if its topic is radically esoteric, I fell in love with them all, they became the centre of this story." The film was produced by United King Films and Movie Plus. It received support from Jerusalem Film Fund and the AVI CHAI Foundation; the film marked the return to cinema after 20 years for Shlomo Bar Aba, a stage comedian, in the role of the father. Bar Aba prepared his character for six months. Lior Ashkenazi, who
South African Film and Television Awards
The South African Film and Television Awards is an annual South African awards ceremony hosted by the National Film and Video Foundation, to honour creative excellence in the local film and television industry as assessed by the volunteer judges. The various category winners are awarded a statuette called the Golden Horn, a certificate; the awards, first presented in 2006 at the Gallagher Estate, are overseen by a committee governed by the NFVF. The finalists and winners are chosen by a multi-phasic process of judging panels. Only South African citizens are eligible for the awards; the South African Broadcasting Corporation is sponsor. The 12th South African Film and Television Awards ceremony was held at the Sun City on 28 March 2018. At the first film indaba in August 2005, representatives of the South African film and television industry, with guidance from the National Film and Video Foundation, set to establish an annual awards ceremony; the awards would serve as a way honour and promote creative excellence, encourage the development of new talent within the industry.
Since the inaugural ceremony, the awards have been under the custodianship of the NFVF and governed by a committee. The current NFVF chief-executive officer is the chairperson, while the rest of the body consists of the national broadcasters, the South African Screen Federation, Writers' Guild of South Africa, other key stakeholders. At the 6th South African Film and Television Awards ceremony the NFVF CEO and SAFTA committee chairperson, Eddie Mbalo, announced there would be an investigation into establishing a South African Film and Television Academy as "true custodians" of the awards; the announcement followed Eddie Mbalo resignation, "hoping" that the academy would be launched with a new chairperson. In the weeks before the 7th South African Film and Television Awards the current NFVF CEO, Zama Mkosi, reported that a special sub-committee had drawn up a draft constitution for the Academy; the constitution was released to the industry for feedback, she stated that "we may achieve within the next two to three years."
It is modelled on international academies, such as Academy of Motion Picture Arts and Sciences and British Academy of Film and Television Arts. The NFVF stated it could not fund the academy, stating they would "walk alongside" the industry to make the academy make "financial sense". Since the inaugural awards ceremony in 2006, each winner receives a statuette named the Golden Horn and winner certificate in recognition of creative excellence; the faces on the statuette are based on artefacts from throughout Africa, some dating back to 800 CE, reference the Lydenburg Heads. The three figure heads are sculpted to look like cattle horns and similar to the shapes found on indigenous snuff boxes; these objects were a recognition the status of venerated member in an African community. Together the horns are a reference to flames and the rising sun as an "emblem of brightness and the supreme principle of the nature"; the creative concept behind the trophy is built on the strength of the collective effort and the recognition of the individual as a part of the team.
As per the awards committee guidelines, only citizens and permanent residents of South Africa are eligible for a nomination. In the television award categories, the production company's majority stakeholders must be South African. In the case of co-productions with foreign companies, are only eligible where a "significant proportion" of the creative decision are made by the South African team and the production has been certified by the National Film and Video Foundation; the SAFTA committee sends out a call for entries around August. For the 10th South African Film and Television Awards, participates were allowed to submit their media online, before the entry forms were submitted online and the media sent via a postal service to the NFVF head offices in Johannesburg. In the television categories, shows that were publicly aired on any local stations between 1 August and 31 July are eligible; the television show must be serialised, with at least one season. The production company or producer submit two of the best episodes, along with a list of the specific categories they with to enter.
In the film categories, films that were publicly exhibited in South Africa between 1 January and 31 December are eligible. The minimum runtime for feature film entries was reduced from 70 minutes to 41 minutes for the 10th South African Film and Television Awards. For any actor and actress categories a showreel of their best scenes is submitted, to give the judges a view of their range. If an entry is submitted incorrectly, it is disqualified from that category; the SAFTA committee begins each judging process, by electing a jury of three or more chairpersons. These chairpersons supply score cards and guide the judges in each category; the film and television professionals with a minimum of ten years experience, or deemed "credible" by the jury, can volunteer to be a judge. In 2011, the SAFTA committee began incorporating previous winners and nominees into the judging process to "encourage peer recognition"; the names of judges are not publicly available, to protect their anonymity and remove any potential coercion during the process.
In the 2016, there were 300 judges used throughout the process. The judging sessions take place in South Africa's three major cities, Cape Town and Durban. After much criticism from the television industry, the SAFTA committee partnered with the Emmy Awa
The Human Resources Manager
The Human Resources Manager is a 2010 Israeli drama film directed by Eran Riklis. It was written by Noah Stollman, based on the 2006 book A Woman in Jerusalem by A. B. Yehoshua; the film tells the story of a bakery's human-resources manager who reluctantly travels to Eastern Europe to bring the body of a deceased former employee, a recent immigrant to Israel, back to her family, in order to prevent a public-relations disaster for his company. The first half of the film is set in, was filmed in, while the second half was filmed in Romania, although the name of the country is never specified in the film; the Human Resources Manager won five Ophir Awards, for Best Film, Screenplay, Supporting Actress and Soundtrack. The film was selected as the Israeli entry for the Best Foreign Language Film at the 83rd Academy Awards, but it did not make the final shortlist. Mark Ivanir as The Human Resources Manager Reymond Amsalem as The Divorcee Gila Almagor as The Widow Noah Silver as The Boy Guri Alfi as The Weasel Irina Petrescu as The Grandmother Julian Negulesco as The Vice Consul Rosina Cambos as The Consul Bogdan E. Stanoevitch as The Ex-Husband Ofir Weil as The Morgue Worker Roni Koren as The Daughter Papil Panduru as The Driver Danna Semo as The Secretary Sylwia Drori as The Nun List of submissions to the 83rd Academy Awards for Best Foreign Language Film List of Israeli submissions for the Academy Award for Best Foreign Language Film Human Resources Manager on IMDb
