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.

Struggle for freedom during a future civil war in Israel.

A couple on the beach discuss their relationship. They reminisce about how wonderful things once were and find themselves wondering whether that was indeed the case, whilst at the same time also dreading the future. At the same time, a second couple – two elderly men whom we meet, both live entirely in the past whilst dreading the present.

A couple on the beach discuss their relationship. They reminisce about how wonderful things once were and find themselves wondering whether that was indeed the case, whilst at the same time also dreading the future. At the same time, a second couple – two elderly men whom we meet, both live entirely in the past whilst dreading the present.

A Wild West gunslinger faces cardboard shooting targets bearing the faces of Mao Zedong, Golda Meir, and others. What is the ultimate shooting target and who will end up pulling the trigger?

A Wild West gunslinger faces cardboard shooting targets bearing the faces of Mao Zedong, Golda Meir, and others. What is the ultimate shooting target and who will end up pulling the trigger?