Mili Pecherer

The same old adventure recited in a new synthetic world, starring: God, Abraham, Isaac, a lost shepherd and the antelopes in the role of the Ram. Nobody is innocent.

What if the famous biblical ark, the last refuge of humankind and the animal kingdom during the great flood, was not merely an act of divine intervention but, instead, a meticulously planned programme for professional reintegration?

Once upon a time, 3000 years ago, a ram died on a mountain top. Just before, we’d had our last picnic.

Wrapped up warm in gorgeous medieval-like capes, two young women are walking. Setting off on their pilgrimage for a very humble destination, they travel along narrow country roads, and converse while listening to each other. The first one, Mili Pecherer, the director, carries on her back a both grotesque and enigmatic burden: a huge hemorrhoid-shaped bundle. As far as the second one is concerned, she is expecting a child. Understandably, here a serious and a comical approach are combined for this wandering on the foothills of the Pyrenees, open to carnival and irreverent tones under the auspices of a medieval song. As the picaresque tradition has it, this trip will give rise to meetings: with a farmer and father hosting them, with the inventor of a machine designed to find lost cats. And also a donkey, the transient travelling companion of this fanciful voyage.

Mili, “damsel in distress”, moves between lonely scenes in the snow-covered forests of Finland and the tough male-dominated Wild West of Israel. On her road trip to Yeruham, a small town in the Negev desert, she meets cowboys, herdsmen, hunters and a sheriff, all of them more pestering than charming. Armed with a Colt and a camera, this shy, sugar-sweet Calamity Jane succeeds both in softening men’s hearts and gaining their respect. A young woman on a quest, torn between the desire for closeness and distance. A provocative portrait of tough guys and unerring pleasure seekers that brings a smile to the face.