Sherman, who is on trial for murder, is found not guilty thanks to reasonable doubt, however; having stood trial leaves the young felon a changed man. He falls head over heels with his defence attorney’s bright daughter and is even willing to turn his back on a life of crime for her, including walking away from his long-time partner, Jaffan prostitute, Margot. However, the road back to the straight and narrow is not an easy one and indeed, many around hm are wary of this so-called, newly-reformed Sherman.

A comic and episodic satire, the film uses improvisation to illustrate the clash between fantasy and reality in real life. Although conceived in the style of Mekas’ “Hallelujah the hills” (1962), it’s an authentically Israeli satire, an openly rebellious and individualistic expression that poked fun at the sacred myths of earlier zionist films. The technique of film within the film is used to portray cinema as reflection of the imagination, a miracle based on dreams and fantasies that take on concrete characteristics – parallel to the miracle of Israel, the dream that has become reality. Although not a commercial success, its importance is beyond any measure, though it remains a unique experiment, boldly uncommercial and subversive, out of any context in that patriotic, ideological epoch.