Nissim Azikri

A Protestant World War II pilot and a Jewish girl fall in love in Jerusalem, even though their diverse backgrounds threaten to pull them apart.

A slapstick comedy lampooning bureaucracy and the madness of everyday life in Israel centers on an escaped lunatic who digs up the streets of Tel-Aviv with a drill.

An experimental and absurd avant-garde film about a bunch of unrelated people, all standing on the side of the road waiting for the traffic light to change from red to green, but the traffic light won't change. More and more people gather on the sidewalk, and a kind of class society is formed there. The film was shot during one day in which Ephraim Kishon lent Uri Zohar the set of "Blaumilch Canal" at Herzliya Studios.

The Bukharan neighborhood of Jerusalem in the 1920s Naftali is a wealthy trader and a middle-aged widow whose all his former wives have mysteriously passed away and he is afraid to remarry with a belief that he has a curse on him. The matchmaker presses and the old woman coaxes and finally carries Flora, a 24-year-old virgin, but not to infect her with a curse, he avoids any physical contact with her. The plot gets complicated when Flora gets hurt as a result of her relationship with the fabric merchant, and Naftali, who can't bear the shame, turns his anger on his young wife.

In this Israeli comedy, the baker has half a winning lottery ticket, and his deceased partner has the other. In order to benefit from winning, somebody needs to put the two together. The baker searches stealthily for the missing half, so do the dead partner's son-in-law and a group of thieves who hear of this potential windfall. There is some slapstick as this group chases one or another of its member through the streets and shops of Tel-Aviv

Shalom is a young man from a nice, middle-class Tel Aviv family. His parents are keen for him go to university, but all of that doesn’t really factor in with his plans. Shalom drives a rickety, old estate car; he has two women in his life, keeping his companionship and romantic needs met; and spends his time on the road, soul-searching. He chances upon a group of artists and intellectuals (including Amos Keenan and Uri Avnery) who have been arguing about Israel’s socio-political future, discussing war and peace; settlements and land; the rich and the poor, and so on. The only thing everyone seems to be in agreement on is that the future is looking bleak. Shalom then decides to immigrate and head to the US – a decision that takes him nowhere, fast.