Ronnie Reshef | Composer
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SONGS FOR THEATER

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Suitcase Packers
אורזי המזוודות

Nisan-Nativ Studio
סטודיו למשחק ניסן נתיב


Forcibly Heroes, Haifa Theater

Forcibly Heroes
גיבורים בעל כורחם

Haifa Theater
תיאטרון חיפה


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The House of Bernarda Alba

Juilliard Drama School


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The Girl from Maxim's

Juilliard Drama School, New York


 

THE GOOD DR. WINDHAGER

For Tenor and String Quartet

 

Duration: 10'
Instrumentation: tenor, 2 violins, viola, cello.
Text: Daniel Neer
Commission: Daniel Neer, for the Cube Quartet.
Premiere: Otterbein University, Columbus OH, April 2013. Daniel Neer, tenor; Cube Quartet.
Attached performance: The Secret Opera: Daniel Neer, tenor; Liz Derham, Maria Im, Violin; Devin Cholodenko, Viola; Timothy Leonard, Cello.

 
 

PROGRAM NOTE

 

"I first met Israeli-born composer Ronnie Reshef at a fellowship program via American Opera Projects in New York City, and after hearing the beauty and intensity of her music I had hoped there would be a possibility for us to collaborate together. Interested in our vastly different backgrounds and upbringing, we decided to create a work with an interfaith theme: more specifically, a monologue-like aria based on an event in Jewish history as observed by a non-Jew. Deciding to focus on Vienna during the Anschluss of 1938, we focused on the infamous Kristallnacht campaign of November 9 and 10 of that same year. The result of our collaboration is The Good Dr. Windhager, an eyewitness account by a non-Jewish man of the horrifying abduction of a trusted family confidant and friend, who also happens to be the family doctor. Ronnie’s masterful use of string quartet as an accompanying device demonstrates the contrast between the narrator’s cozy living room as juxtaposed with the damp and hellishly destructive streetscape below. The hearth-warming glow of the narrator’s home shifts abruptly to the stark, alien-like street persecution as depicted by music more rhythmic, sharp, eerie, and violent. At the end of the abduction, the narrator finds himself unable to process the topsy-turvy events of a new world, experiencing first-hand the destructive nature of hate in the midst of political upheaval."   

- Daniel Neer, librettist.

 

THE GOOD DR. WINDHAGER

For Tenor and String Quartet

 
 

Duration: 10'
Instrumentation: tenor, 2 violins, viola, cello.
Text: Daniel Neer
Commission: Daniel Neer, for the Cube Quartet.
Premiere: Otterbein University, Columbus OH, April 2013. Daniel Neer, tenor; Cube Quartet.
Attached performance: The Secret Opera: Daniel Neer, tenor; Liz Derham, Maria Im, Violin; Devin Cholodenko, Viola; Timothy Leonard, Cello.

 
 

PROGRAM NOTE

 

"I first met Israeli-born composer Ronnie Reshef at a fellowship program via American Opera Projects in New York City, and after hearing the beauty and intensity of her music I had hoped there would be a possibility for us to collaborate together. Interested in our vastly different backgrounds and upbringing, we decided to create a work with an interfaith theme: more specifically, a monologue-like aria based on an event in Jewish history as observed by a non-Jew. Deciding to focus on Vienna during the Anschluss of 1938, we focused on the infamous Kristallnacht campaign of November 9 and 10 of that same year. The result of our collaboration is The Good Dr. Windhager, an eyewitness account by a non-Jewish man of the horrifying abduction of a trusted family confidant and friend, who also happens to be the family doctor. Ronnie’s masterful use of string quartet as an accompanying device demonstrates the contrast between the narrator’s cozy living room as juxtaposed with the damp and hellishly destructive streetscape below. The hearth-warming glow of the narrator’s home shifts abruptly to the stark, alien-like street persecution as depicted by music more rhythmic, sharp, eerie, and violent. At the end of the abduction, the narrator finds himself unable to process the topsy-turvy events of a new world, experiencing first-hand the destructive nature of hate in the midst of political upheaval."   

- Daniel Neer, librettist.

 

FOUR CHILDREN'S SONGS

For Mezzo Soprano and Guitar

 
 

Duration: 8'
Instrumentation: mezzo soprano and guitar.
Text: H.N Bialik
Written for: Nadav Lev, guiatrist.
Recording: Nadav Lev: New Strings Attached; Delos Music.
Purchase link: https://www.amazon.com/Nadav-Lev-Attached-Contemporary-Composers/dp/B0147F0S7I

 
 

PROGRAM NOTE

kjhfjhfjhfjhf

 

LIFE!

For Mixed Choir Acapella

 
 

Duration: 8'
Instrumentation: mixed choir acapella.
Written for: Voice Exchange Chorus.
Premiere: May 2011, Greenwich House, NYC (Voice Exchange Chorus; Conductor: Saya Callner).


 

 
 

PROGRAM NOTE

 

ghfghfgh

 
 

FAREWELL RHYMES FOR A LOVED ONE

Song Cycle for Baritone, Clarinet, and Piano

 
 

Duration: 30' (seven songs)
Instrumentation: baritone, clarinet, piano.
Text: Hanoch Levin (Hebrew)
Written for: Ari Amir.
Premiere: December 2010, Manhattan School of Music, NYC (Ari Amir, Felix Behringer, Erica Dohi).


 

 

PROGRAM NOTE

 

ghfghfgh

 
 

DELL'ARTE MINIATURES

Quintet

 

Duration: 10'
Instrumentation: clarinet, violin, cello, piano, harp.
Commission: by the Adele and John Gray Endowment Fund, for the Israeli Chamber Project.
Premiere: March 2013, Shtriker Hall, Tel-Aviv, the Israeli Chamber Project.

 
 

PROGRAM NOTE

 

The Dell'arte Miniatures were born from my love to the theater and the world of Comedia Dell'arte. The basic concept of this genre, having the same group of one dimensional characters appear in many different storie, makes it a natural match for miniatures, which can capture such one dimensional characters very effectively.

The piece is made of seven miniatures: opening, closing, and in the middle, five characters: Pantalone the greedy householder who tyrannizes his servants; Gay Pedrolino the good-hearted prankster servant; Pierrot the sad clown, who is in love with Columbina; beautiful Columbina, bouncing between lovers and breaking their hearts; and Arlekino, the cunning nimble servant who juggles his boss and friends with tricks and pranks.

In the piece, each character is represented by a musical instrument: five characters - five instruments. The piano stands for Pantalone, because just like the householder his traditional role is to unify the instruments around him; the violin stands for Pedrolino, because of his ability to be bouncy, happy and light, and on the other hand to move with lyrical playing; the harp represents Pierrot because of his association with love serenades - often unrequited love; the cello, whose warm round sound has always associated him with feminine characteristics, represents Columbina; and the Clarinet, known for its agility and nimbleness, stands for Arlekino. In the closing movement, "Bow", each character bows, and the rest cheer for them.

The piece was commissioned by the Adele and John Gray foundation, and was written for the Israeli Chamber Project, who were a joy and honor to work with.

 
 

NINE SKETCHES AFTER AMMONS

Trio for Saxophones, Harp, and Percussion

 

Duration: 20'
Instrumentation: saxophones (soprano, alto, and tenor), harp, and percussion.
Commission: by saxophonist Scott Litroff.
Premiere: May 2008, Mannes College. (Scott Litroff, Sivan Magen, Ashley Baier).

 
 

PROGRAM NOTE

 

Archie Randolph Ammons, 1926-2001, was an award winning American poet. His poetry is known for its idiosyncratic approach to punctuation: the colon, for example, is considered an Ammons "signature"; he often uses it as an all-purpose punctuation mark. Some of Ammons works are very short one or two lines poems, while others are hunders of lines long poems which are in fact prose books. Among his major honors are two National Book Awards, the Wallace Stevens Award from the Academy of American Poets, and a McArthur Fellowship

 
 

THOUGHTS AND THE BIG CITY

Piano Trio + Percussion

 

Duration: 9'
Instrumentation: violin, cello, piano, percussion (vibraphone, temple blocks, wood blocks, triangle).
Premiere: October 2009, Mannes Hall, New-York.

 

PROGRAM NOTE

 

jhgjhg

 

FANTASY FOR FLUTE AND GUITAR

Duration: 8'
Instrumentation: flute, guitar.
Premiere: November 2007, Mannes Hall, New-York.

 
 

PROGRAM NOTE

 

jhgjhg

 
 

SOMETHING TO LIVE FOR

Opera in Two Acts

 

Duration: 120'
Vocal parts: 3 mezzos, 2 sopranos, 2 tenors, 1 bass-baritone, mixed chorus. 
Libretto: Ronnie Reshef and Jennie Contuzzi-Trigo
Premiere: JCC New-York, April 2013; Rachel Arky, mezzo-soprano (concert version)
Production history: Fort-Worth Opera Frontiers (2014); Boston Metro Opera Main Stage Award; partiallydeveloped at American Opera ProjectsAmerican Prize finalist.

 
 

PROGRAM NOTE

 

It is January 27th 1945, the day of liberation of Auschwitz Birkenau, a concentration camp in Nazi Germany. Alina, a thirty-two year old prisoner, cannot celebrate with the other liberated prisoners – her eight year old son, Yashke, was taken from her upon arrival to the camp, nine months earlier. Now, she is determined to find him.

While debriefed by American officers, Alina tells her war story, starting at the transport nine months earlier, until this day of liberation. In her story, which constitutes the heart of the opera, we hear stories of Yashke and their forced separation, of Alina’s fellow prisoners, and of the cruelty of the Nazis. We enter the mind and body of a woman who was imprisoned and tortured only because of her race, and experience her distress as she must survive the daily horrors of the war in order to reunite with Yashke, who she prays for every day.

On one hand, Alina feels that she must survive solely to be there for Yashke when the war is over, and on the other hand, Yashke’s constant presence in her thoughts is the only thing that keeps her from giving up and surrendering to death, which waits around every corner. The thoughts of Yashke drive this story: a painful, moving, historic, and human document.

Although the libretto was written as fiction, each of the events it describes is based on testimonies and diaries that remained from the war, hundreds of which constitute the foundations of Something to Live For.

 

REQUIEM FOR THE LIVING

One Act Chamber Opera

 
 

Duration: 40'
Vocal parts: Soprano, Baritone, Bass-Baritone. 
Instrumentation: flute, clarinet in Bb, horn in F, trumpet in Bb, violin, viola, cello, 2 percussion.
Libretto: Amikam Kovner.
Premiere: Mannes College, May 2009 (as a part of the CIRCE prize).
Production history: Mannes College (2009), Thompson Street Opera (2014).
 

 
 

PROGRAM NOTE

 

"Requiem for the living" is the story of a man who is notified by his doctor that he has one more week to live.
Shocked and confused, he immediately goes through the five stages of grief: Denial, anger, bargaining, depression and finally – acceptance.

He is left alone in the room, trying to find a meaning to his ending life: one after the other, central people in his life appear: his wife, his son, and finally - the priest. The scenes with the three of them are taking him through a journey of grief, love, and reconciliation.

In the end, it all turns up to be a case of mistaken identity. Our hero celebrates his life and the coming death of the anonymous gentleman - so quick to forget the bitter truths he discovered only moments ago. 

The Requiem is a dark comedy about a dying man. The opera tries to deal with questions such as the meaning of life, the futility, banality and absurdity of existence, the question of faith, and the fragility of human love. Those themes were taken very seriously and respectfully, however, they are delivered with humor, irony and, we hope - compassion.

- Amikam Kovner (2010)

 

AMBIGUOUS KAFKA

Adaptation of Text Fragments by Franz Kafka

for Four Acting Musicians and a Large Ensemble

 

Duration: 45'
Soloists: baritone, violin, clarinet, tuba. 
Instrumentation: 
Chamber version: baritone, violin, clarinet, tuba.
Full version: ensemble: flute, oboe, clarinet in Bb, 2 violins, viola, cello, double bass, piano, 2 percussion. Soloists: baritone, violin, clarinet, tuba.
Text: Franz Kafka (edited by the composer).
Premiere: Manhattan School of Music full production, January 2012.
Production history: Mannes College (chamber version) 2009; Manhattan School of Music (full version) 2012; The Tank (chamber version) 2012.
Video clip: Seth Gilman, baritone; Brendan Speltz, violin; Ben Ringer, clarinet; Matt Muszinski, tuba; Old Stories New ensemble, conducted by Sam Nester. Stage director: Brendan Moffitt.

 

PROGRAM NOTE

 

Franz Kafka (1883-1924), a Jewish Czech writer, is widely regarded as one of the most influential writers of the 20th century. He is mostly famous for his short stories and novels, and for his ongoing depiction of the little man standing helpless against the big system, bureaucracy, or society.

Four years ago, by a magical coincidence, I found myself with a book of hundreds of text fragments which Kafka wrote at different points in his life. The scope of these fragments ranges from three sentences to three-page long texts. Some of them are unfinished sketches, while others are perfectly structured; some are surreal to the point of complete absurdity, while others are totally realistic; some deal with the classic Kafkaesque themes, while others reflect on other ideas.

Many of those texts moved me and fascinated me, and I found many layers hiding in them: the top layer, Kafkaesque surreal narratives decorated by humoristic glimpses; the middle layer, the romantic, melancholic aspects of the stories; the bottom layer of the dark themes of existential loneliness and alienation.

In many of these texts I found a more personal facet of Kafka’s work: instead of the little man searching for his identity as a part of a huge mechanism, these texts present a different type of identity search, in which Kafka tries to define who he is according to his relationships with the people who surround him. These are the texts that I chose to set. The result is that rather than being cold and threatening Kafkaesque stories, Ambiguous Kafka presents warm, intimate, and compelling scenarios: the anxiety of being alone in a room; the trepidation of waiting for an unknown person; the stress of having to satisfy people’s expectations; the desire for a romantic love; and the fear of losing the love you have.

The process of creating the piece felt no less magical than the spell which summoned the sketches book into my hands. I started by setting one short text for a tuba player, and had no plans for a larger piece. When the tuba piece was done, I felt that I had discovered a unique concept for approaching the text, and decided to proceed and create another short piece using the same concept. Each one of the next four movements of the piece came as a result of the movements which preceded it, and at no point was there a large plan for the piece. When I finished composing the fifth movement, I knew that there was no need for anything more. Except for an overture and an epilogue, the piece was done. I had found myself facing a piece with a clear overall connecting theme – ambiguity: a man who has made a meeting with a person he actually doesn’t know; a brutal gangster who ends up as a slim, smiling man; an Olympic swimmer who cannot swim; and a balustrade which turns to a man.

While each movement in the piece has a different focus, for me, at the bottom of each of these texts lie loneliness and a desire for a human companion. This is why, to my eyes, the baritone movement is the heart of this piece: it presents this theme bare, without any disguise, and says directly “I loved a girl… …but I had to leave her… …I suffered much”.

 

AMBIGUOUS KAFKA

for Four Acting Musicians and a Large Ensemble

 

Duration: 45'
Soloists: baritone, violin, clarinet, tuba. 
Instrumentation: 
Chamber version: baritone, violin, clarinet, tuba.
Full version: ensemble: flute, oboe, clarinet in Bb, 2 violins, viola, cello, double bass, piano, 2 percussion. Soloists: baritone, violin, clarinet, tuba.
Text: Franz Kafka (edited by the composer).
Premiere: Manhattan School of Music full production, January 2012.
Production history: Mannes College (chamber version) 2009; Manhattan School of Music (full version) 2012; The Tank (chamber version) 2012.
Video clip: Seth Gilman, baritone; Brendan Speltz, violin; Ben Ringer, clarinet; Matt Muszinski, tuba; Old Stories New ensemble, conducted by Sam Nester. Stage director: Brendan Moffitt.

 
 

PROGRAM NOTE

 

Franz Kafka (1883-1924), a Jewish Czech writer, is widely regarded as one of the most influential writers of the 20th century. He is mostly famous for his short stories and novels, and for his ongoing depiction of the little man standing helpless against the big system, bureaucracy, or society.

Four years ago, by a magical coincidence, I found myself with a book of hundreds of text fragments which Kafka wrote at different points in his life. The scope of these fragments ranges from three sentences to three-page long texts. Some of them are unfinished sketches, while others are perfectly structured; some are surreal to the point of complete absurdity, while others are totally realistic; some deal with the classic Kafkaesque themes, while others reflect on other ideas.

Many of those texts moved me and fascinated me, and I found many layers hiding in them: the top layer, Kafkaesque surreal narratives decorated by humoristic glimpses; the middle layer, the romantic, melancholic aspects of the stories; the bottom layer of the dark themes of existential loneliness and alienation.

In many of these texts I found a more personal facet of Kafka’s work: instead of the little man searching for his identity as a part of a huge mechanism, these texts present a different type of identity search, in which Kafka tries to define who he is according to his relationships with the people who surround him. These are the texts that I chose to set. The result is that rather than being cold and threatening Kafkaesque stories, Ambiguous Kafka presents warm, intimate, and compelling scenarios: the anxiety of being alone in a room; the trepidation of waiting for an unknown person; the stress of having to satisfy people’s expectations; the desire for a romantic love; and the fear of losing the love you have.

The process of creating the piece felt no less magical than the spell which summoned the sketches book into my hands. I started by setting one short text for a tuba player, and had no plans for a larger piece. When the tuba piece was done, I felt that I had discovered a unique concept for approaching the text, and decided to proceed and create another short piece using the same concept. Each one of the next four movements of the piece came as a result of the movements which preceded it, and at no point was there a large plan for the piece. When I finished composing the fifth movement, I knew that there was no need for anything more. Except for an overture and an epilogue, the piece was done. I had found myself facing a piece with a clear overall connecting theme – ambiguity: a man who has made a meeting with a person he actually doesn’t know; a brutal gangster who ends up as a slim, smiling man; an Olympic swimmer who cannot swim; and a balustrade which turns to a man.

While each movement in the piece has a different focus, for me, at the bottom of each of these texts lie loneliness and a desire for a human companion. This is why, to my eyes, the baritone movement is the heart of this piece: it presents this theme bare, without any disguise, and says directly “I loved a girl… …but I had to leave her… …I suffered much”.

 
 

THE LIFESPAN OF A FLY

Short Opera

 

Duration: 20'
Vocal parts: Soprano, Tenor, Baritone. 
Libretto: Vynnie Meli.
Premiere: Atlanta Opera, November 2013.
Production history: Atlanta Opera (2013); Hartford Opera Theater (2014); Opera On Tap (2017); Opera Fayetteville (2018).
Awards: Atlanta Opera 24-hour Competition (2013).

 
 
 

PROGRAM NOTE

The Lifespan of a Fly was written over one night, in Atlanta's 24-Hour-Opera project, in which a librettist and a composer are paired to produce a new short opera in one night. Over the following day, singers, musicians and a director get 12 hours to study, rehearse, and stage the piece, and then, 24 hours from the moment the creators were paired, the piece is performed. The Lifespan of a Fly was awarded the Judges' First Prize!

Upon pairing, we were given a crown, a fly and a line, all of which must be used in the piece. Based on these three, Vynnie, my brilliant librettist, wrote a story about a fly king who wishes to become human - and what happens when he does. The result is a quirky and hilarious piece, featuring arias, trios, and duets - all in 15 minutes.

Except for the Atlanta Opera premiere, the piece was performed at Hartford Opera Theater (CT, 2015), NanoWorks Opera (OH, 2016), and Opera On Tap (NY, 2017).

 
 

SUICIDE (AFTER GROSZ)

For Solo Cello

 

Duration: 14'
Instrumentation: Cello solo.
Commission: for Gal Nyska.
Premiere: November 2009, Enrique V. Iglesias auditorium, Washington DC; Gal Nyska. 
Awards: Yardena Alotin Prize (2014).


 

 
 

PROGRAM NOTE

 

'Suicide', for solo cello, was written under the inspiration of the powerful painting 'Suicide', by the German post-expressionist painter George Grosz. The painting - a harsh, detailed, and graphic piece, shows a few night scenes occurring at a street corner, the central of them is a dead man lying on the floor, a gun laid not far from his right hand. Other scenes include a top bared prostitute standing in front of a melancholic old client, a hung man, man running away from dogs, and others.
Suicide, the musical piece, tries to depict the general feeling that the painting projects, as well as concentrate on the different scenes shown in the painting. The music, like the painting, combines harshness and expressionism with delicacy, evoking in the listener strong feelings of alienation, fear, sorrow, and even some moments of faith thoughts, when the distant church takes over the music.

 

'התאבדות, לצ'לו סולו, נכתב בהשראת ציור עוצמתי מאת הצייר הפוסט-אקספרסיוניסטי הגרמני ז'ורז' גרוס - ציור הנושא את אותה הכותרת. בציור - יצירה חזקה, תיאורית, כמעט בוטה - נראית פינת רחוב וסביבה כמה סצינות ליליות. במרכז הציור, שוכב על הרצפה איש מת, ואקדח מונח לא רחוק מידו. סצינות נוספות בציור כוללות פרוצה עירומה, לקוח מבוגר ועייף, איש תלוי, מרדף של כלבים אחר איש, כנסיה רחוקה, ועוד.
היצירה המוסיקלית, מנסה לבטא את האווירה הכללית של הציור וכמו כן לתאר את הסצינות השונות שבו. המוסיקה, בדומה לציור, משלבת בוטות ואקספרסיוניזם לצד עדינות ורוך, ומעלה רגשות של ניכור, חרדה, וצער. לרגע קצר, בו המוסיקה מתמסרת לכנסיה שבציור, מחשבות על אמונה וכוח עליון מצטרפות לכל אלו.
צבע הארגמן החזק ששולט בציור תואם את צליל הצ'לו החם, העשיר והחזק, ויוצר אווירה סוריאליסטית של של ההקשר הבלתי נמנע של חום וצבע ארגמן: דם; גהינום; חטאים. אלו באים לידי ביטוי מוסיקלי על ידי נגינת טרמולו, שימוש בקשת בצורת סול-טסטו, אקורדים עשירים וסמיכים, ושימוש נרחב במרווח הטריטון, הידוע כמרווח השטן.
 התאבדות, לצ'לו סולו, מנסה לגעת במאזין ולהתחבר לרגשות שתוארו לעיל. בעזרת חלוקה לחלקים על פי הסצנות השונות שבציור, ושימוש במצלולים וטכניקות מתקדמות, היצירה המוסיקלית מתארת את הציור, אבל גם עומדת בפני עצמה כקולאז' מוסיקלי של פרקים שונים ומנוגדים שיוצרים לסירוגין אווירה של חום, ניכור, פחד, ואמונה.

 
 

LAMENTATION OF THE LOVERS (AFTER MIRÓ)

For Solo Guitar

 
miro_lamentation.jpg

Duration: 8'
Instrumentation: solo guitar.
Commission: written for Nadav Lev.
Premiere: July 2009, HaTeiva Hall, Tel-Aviv, Israel; 
Nadav Lev. 

 
 
 

PROGRAM NOTE

 

hhhhhh

 
 

AN AVERAGE STORY - לתפארת מדינת ישראל

Short Film :: 2016

 

Duration: 20'
Producer: Shtuka Sanook
Directed by: Yaniv Segalovich

Awards: 
DC Shorts Festival WINNER
Israel Film Festival Los-Angeles WINNER
Et Cultura Film Festival WINNER

Ophir Award (Israeli Oscar) nominee for Best Short

Synopsis:
Avi Cohen has just been informed that he is the most average man who ever lived. Overnight, he reluctantly becomes a national icon and instant celebrity. With his wife’s enthusiastic urging, they translate the situation into a business venture that goes surprisingly awry.

 
 

TEACHER IRENA - המורה אירנה

Documentary :: 2010

 

Duration: 52'
Producer: Black Sheep Film Production
Directed by: Itamar Chen

Awards: 
Best Editing Award – DocAviv IFF 2010
Grand Prize – Parnu Film Festival, Estonia
Israeli Academy Award Nominee

Synopsis:
In the toughest neighborhood in Jerusalem – a place of unemployment, despair & racial tension, where children lose their expectations from life, stands one teacher who has sworne not to give up on them. Irene, who left Russia for Israel 15 years ago, does whatever she can, using unique & controversial teaching methods, retrieving hope to their lives.

 
 
 

ACROSS THE LINE - מעבר לקו

Short Film :: 2016

 

Duration: 29'
Producer: Black Sheep Film Production.
Directed by: Nadav Shlomo Giladi.

Awards: Stony Brook International Film Festival 2017 – Jury Award for Best Short.

Synopsis:
Hananel, a young religious Jew, is hurrying home for Shabbat. An unexpected encounter with Mundir, an unwanted and stubborn Palestinian hitchhiker, leads Hananel on a series of mix-ups that eventually teach him a lesson in communication, friendship and love.

 
 
 

QUANTUM LEAP - קוואנטום ליפ

Short Film :: 2007

 

Duration: 35'
Producer: Independent.
Directed by: Alon Levi.

Synopsis:
Leon, a failing physics teacher, is forced to use extreme means in order to keep his job.

 
 
 

DAD'S AGE - אבא בגיל של סבא

Documentary :: 2017

 

Duration: 50'
Producer: Roni Wolf
Directed by: Roni Wolf
Festivals: Jerusalem Film Festival, Epos Film Festival.

 

Synopsis:
At 80 years-old, actor Shmuel Wolf loses his ability to stand on the stage. His relationship with his wife, 20 years younger than him, is changing too, entering a new chapter in which the two find themselves redefining their roles.

 
 
 

NIGHT SHIFT - משמרת לילה

Documentary :: 2013

 
poster_0 (1).jpg

Duration: 50'
Producer: Gum Films
Directed by: Itamar Chen & Arik Leibovich
Festivals: Jerusalem Film Festival, Epos Film Festival, Haifa International Film Festival, WINNER.
Synopsis:
Rafi is the only cop in an Ethiopian ghetto in Israel. An Ethiopian-Israeli himself, he is considered a traitor by some and the only trusted soul by others. The film follows him on a night shift, telling through him the story of this difficult neighborhood and its unique people.

 
 
 

HEADLICE TREATMENT - פולת הכינים

Short Film :: 2017

 

Duration: 7'
Producer: Tel-Aviv 48-hour-film challenge
Screenplay: Roey Maliach-Reshef
Directed by: Keshet Sidi
Synopsis: futuristic apocalyptic horror thriller

 
 
 

MAN’S BEST FRIEND - חברו הטוב ביותר של האדם

Animation, Orchestral Score :: 2006

 

Duration: 6'
Producer: The Revolution Orchestra
Directed by: Guy Weitzman
Festivals: Israel Festival.
Synopsis:
What happens to a beloved dog when his owned gets a new computer?

 
 
 

COMEDIA - קומדיה

Short :: 2012

 
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Duration: 7'
Producer: Pablo Herran de Viu
Directed by: Pablo Herran de Viu
Festivals: Screen Loud Film Festival,
Synopsis:
Marina accompanies Yago to his parents’ house to help him with the move that will effectually end their relationship. The fate of the couple, however, remains uncertain until the moment in which Marina takes the bus ride that will definitively separate the couple.

 
 
 

TIBERIAS IN A BOX - טבריה בקופסא

Short Film :: 2005

 
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Duration: 35'
Producer: Sam Spiegel.
Directed by: Alon Levi & Yaniv Segalovich.
Awards: winner of Transtitles Prize for Best Film Score.
Synopsis:
A mosaic of characters and events that tell the story of Tiberias: a teacher of gymnastics with too many hopes, a hole in the road that the residents find difficult to part with, a soul candle looking for a match for its owner, a boat chase between a couple on the Sea of Galilee and a veteran photographer who started it all. A small, touching city forgotten behind.

 
 
 
 

ABIGAIL - אביגיל

Short Film :: 2006

 

Duration: 17'
Producer: Sam Spiegel.
Directed by: Gil Asheri.
Festivals: Bird’s Eye View (UK), Deboshir Films (St. Petersburg)
Synopsis: Abigail will do almost anything to avoid being alone. In her desperation, she reappears in Dubie's life and takes him on a journey. This expedition, however, ends in an unexpected twist of events. Or should we say begins...

 
 
 
 

VIKA - ויקה

Short Film :: 2005

 
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Duration: 17'
Producer: Sam Spiegel.
Directed by: Tzivya Barkai.
Festivals: Berlinale Generations, Deutsches Kinderhilfswerk (Special Mention), Jerusalem International Film Festival, Giffoni Film Festival (Italy).
Awards: winner of Transtitles Prize for Best Film Score.
Synopsis:
After a long stint in her boarding school, Vika, 12, returns home for the weekend: A new sister awaits her filthy and crying. As always, Vika tries to please her mother and fails. She suddenly understands the gravity of the situation when her mother decides to mix Vodka with milk to calm the baby.