Deux Beaux Garçons Films

The film captures the daily duality of three young Palestinian women in Tel Aviv, caught between hometown tradition and big city abandon, and the price they must pay for a lifestyle that seems obvious to many: the freedom to work, party, have sex, and choose.

Eid, a young Bedouin from Rahat, spends his nights in Skype calls with Dounia, a married Arab actress living in Paris. Dounia is both his audience and his muse for a play he is writing about his life. When his parents force him to marry a woman he doesn’t know, Eid fears he will not be able to complete his dream. Eid will try to change his fate, determine the ending of his play himself, and tell his story—even if no one is there to listen.

Mali Azulai (38), a bus inspector in Ashkelon, is on the verge of losing her job after a violent altercation with a teenage passenger. When she returns to an empty bus to retrieve the body camera she left behind, she finds an abandoned baby on the floor and decides to take him home. Her brother Shimon (32), a prison guard struggling through a marital crisis, joins her, and the two shut themselves away with the child. His presence stirs the siblings’ shared wound of abandonment, as long-buried secrets come to light. When the baby falls ill and a hospital visit becomes unavoidable, Mali is forced to choose, hold on or let go and face the cost.

Noam, a young gay man, discovers that his father, who just died, had a secret affair with a married man. He follows and meets that man. He now holds his father’s secret.

Avigail, an overweight and insecure 18-year-old midshipwoman, returns home to the stuffy apartment in Jerusalem which she shares with her dysfunctional mother and with her young sister. Avigail hopes to untie the chains of her childhood, But something else happens when she returns home: Her young sister got knocked up. Now, instead of getting rid of her virginity- she has to get rid of a baby.

Israeli street-artist Addam Yekutieli kept his anonymity and signed his works with the pseudonym "Know Hope". He began drawing human-like characters that rapidly gained attention and granted him the title the "Israeli Banksy". But when he experiences an eruption of autoimmune arthritis, he is forced to rethink his artwork in light of his new physical disability. The film documents moments in which a personal human drama generates art and political action. The anonymity of the hit-and-run street artist is replaced with intensive and intimate social interactions, exploring how painful memories and experiences may be alleviated through art.

After leaving the ultra-Orthodox world, 21-year-old Sarah sets out on a five-year journey, sparked by a raw, intimate expression of female vulnerability: an unplanned pregnancy. Without a permanent home, her changing body dictates the rhythm of her life as she moves between temporary apartments. Motherhood forces her to face herself, while the past she fled resurfaces. Caught between constant motion and inner withdrawal, Sarah struggles to form a new identity and find a place to call home.

In close proximity and yet without any points of contact: In the West Bank, Israeli settlers and Palestinian farmers live next door to each other - and yet in separate worlds. Omar takes his Palestinian family from their town house to the barren slopes of Mount Hebron, where they are supposed to help look after his sheep farm. The Jewish settler Avidan has settled in the immediate vicinity with a group of like-minded people in order to raise sheep in the desolate land. Avner Faingulernt documents these hermetic worlds in a radical but logical form: as two separate films that only unfold their full effect when viewed as a diptych.