Gut Feeling 13TH EDITION CATALOGUE 13TH EDITION PARTICIPANTS AND PROJECTS MENTORS JURY TEAM LAB FILMS Gut Feeling Filmmakers Gilad Inbar, Benny Fredman Producer Benny Fredman Production Company Red Films LTD, United King Films, Amir Gedalia Productions Country Israel Lab Edition 13 , 2025 SCENE PITCH SHORT SYNOPSIS Iris, a skilled operative in Israel’s Secret Service, faces an unexpected pregnancy by her partner, Dotan, a SWAT officer. The pregnancy exposes long-buried trauma that interferes with her ability to do her job. Despite Dotan’s pleas, she schedules an abortion. During a mission, a panic attack stops her from apprehending one of her informants. When he takes hostages, Iris insists on tracking him down. But Dotan, fully aware of her condition, is determined to pull her out of the field—even at the cost of their relationship. Iris must choose between her identity as a fighter and the instincts of a mother awakening within her. DIRECTOR’S NOTE Iris grew up in the shadow of her father, a heroic soldier killed in action. That grief convinced her never to bring children into a world of loss. But an unexpected pregnancy forces her to choose between her identity as a fighter and the instinct urging her to protect her unborn child. Framed as a thriller, our story follows a female fighter in today’s Israel, searching for hope amid darkness. We both have daughters in the army. The panic that grips Iris is the sum of our daughters’ fears and our own, as their parents. How do you raise a child in a reality where everything can shatter in an instant? ABOUT THE FILMMAKERS ○ Gilad Inbar is a director & editor. His directing credits include ”Shlomo Bar– A Musical Documentary” (2022), screened at Docaviv and Krakow, and ”The Hungarian Cube – A Journey with Andre Hajdu” (2013), broadcast on Channel 8. As an editor, Inbar’s credits include Benny Fredman's ”Home” - nominated for Best Editing at the Ophir Awards; Amichai Greenberg's ”The Testament”- screened at Venice IFF and Benny Fredman’s ”Suicide”- distributed by Netflix. Inbar graduated with honors from the Sam Spiegel School. ○ Benny Fredman is a writer & director known for “Home” (2023), winner of multiple Ophir Awards; the suspense miniseries “Suspect” (2015, Channel 10); the provocative series “Everything is Judgeable” (2015, Israel Broadcasting Authority); the feature thriller “Suicide” (2014), The Jerusalem Film Festival. Distributed by Netflix; and the short film “Leak” (2012), screened at festivals in Las Vegas, Miami, and Tacoma. ABOUT THE FILMMAKER PRODUCER Benny Fredman Red Films is a production company known for producing TV series such as ”Suspect”, and feature films including the Netflix film ”Suicide” and the Ophir Award-winning ”Home”. The company also produces documentaries, such as ”Moving the Embassy”, broadcast on TBN, and ”Poogy’s Last Festival”. PRODUCTION COMPANY PROFILE ○ Red Films LTD / Jerusalem ○ +972543474448 ○ benif123@gmail.com PRODUCTION BUDGET ○ Total budget: 2,100,000 USD ○ Confirmed budget and source: 285,000 USD (Amir Gedalia productions, SE productions) LANGUAGE Hebrew, Arabic GENRE Drama, Thriller Back To Participants PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS

Mirror of Nightingales Mirror of Nightingales Karla Lulić Producers Karla Lulić, Jelena Madaric Lab Edition 12 , 2024 SCENE PITCH Production Dobar Films, Croatia; Avanpost Media, Romania; Delirium Films, Serbia Country Croatia, Romania, Serbia SYNOPSIS In a remote village somewhere in the Balkans lives Dora, a professional mourner. At her job, she is the best in the village, when she cries, even the dead weep. One day, she comes late to a funeral and cries at the wrong grave. In her desperate search for new crying gigs, she meets Dunda, a man who desperately wants, but cannot die. Their love breaks the spell, so Dora is now able to truly live, while Dunda is able to finally die. DIRECTOR'S NOTE Light, texture and composition are in the style of British impressionism, inspired by French impressionism, with rural dreamy landscapes including people and bright sunlight. This choice contributes to the touch of magic realism in this film. Sun will burn the streets and forests, creating an image of a slightly outdated photograph, but full of life. Interiors are minimalist, dusty and dark, with dark brown earthly shades and sun barely coming through lace curtains. This play between light and darkness will create a dreamy atmosphere, almost like giving light to the subconscious, dark and taboo. The duality of black vs. white / death vs. life, and the decisions made by the characters, will be marked by the camera. Wide shots will dominate in the scenes of life, youth and outside. Scenes of death, blackness, adults, villages and interiors, will be marked with tighter shots, evoking the feeling of pressure of growing up and oppressing tradition. LOG LINE A story about Dora, a professional mourner. She is the best mourner in the village, and when she cries, even the dead weep. ABOUT THE FILMMAKER Karla Lulić is a screenwriter, director, and producer who has a master's degree in film and TV production from the Sorbonne University in Paris. As a screenwriter and producer, she is also working on a TV series for a young audience, "Chasing the Clouds." Also, she is currently developing her first feature film, “Mirror of Nightingales," and the TV series Dear Insects and Other Creepy Stories, developed as part of the Torino Film Lab in 2024, and MFI (Mediterranean Film Institute) in Greece in 2023. PRODUCERS Karla Lulić, Jelena Madaric ○ Karla Lulic Screenwriter, director, and producer who has a master's degree in film and TV production from the Sorbonne University in Paris. As a screenwriter and producer, she is also working on a TV series for a young audience, "Chasing the Clouds." Also, she is currently developing her first feature film, “Mirror of Nightingales," and the TV series Dear Insects and Other Creepy Stories, developed as part of the Torino Film Lab in 2024, and MFI (Mediterranean Film Institute) in Greece in 2023. ○ Jelena Madaric She works as a producer on the debut feature film "Mirror of Nightingales," directed by Karla Lulić. Also, she is working on the TV series "Dear Insects and Other Creepy Stories," which is being developed as part of the Torino Film Lab in 2024 and the Mediterranean Film Institute in Greece. As a screenwriter, she is currently working on a TV series for young audiences, "Chasing the Clouds". Production company was founded in 2014 in Koprivnica, Croatia, by its producer and director Karla Lulić. Dobar Film (i.e., good film) is focused on creating good films slightly flirting with genres. Dobar Film is producing films, commercials, and music videos. The previous short films IN THE NAME OF THE STRAWBERRY, THE CHOCOLATE AND THE HOLY SPIRIT and FOLLOWING... screened at 30+ world festivals around the world. Currently, they are developing two feature films and two TV shows. PRODUCTION COMPANY PROFILE ○ Dobar Film | Mihovila Pavleka Miskine 32, 48000 Koprivnica, Croatia ○ Co-production Partners: Romania: Avanpost Media | Serbia: Delirium Films | Italy: UMI Films ○ Karla Lulić: karla@dobarfilm.hr | +385 92 4088 857 ○ Jelena Mađarić: jelena@dobarfilm.hr | +385 95 2121 122 PRODUCTION BUDGET ○ Total budget: 1,683,681 USD ○ Confirmed budget and source: 287,241 USD The project is supported by MEDIA co-development fund of 57,623 USD and, we received support for script development and project development from the Croatian Audiovisual Centre (HAVC) and City of Koprivnica, totaling 44,083 USD. LANGUAGE Croatian Dark Romance Comedy GENRE Back To Participants PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS HOME FILM LAB WHO'S WHO MENTORS PROFESSIONAL GUESTS JURY SCOUTS AND PITCHING DECISION MAKERS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION RULES & REGULATIONS FILM FAQ

Bad Blood Bad Blood Screenwriter: Or Levy Berger Producer: Osnat Saraga , Paramount Israel (Ananey Studios) Language: Hebrew Format: 8 Episodes x 35 Minutes Send PITCHDECK LOGLINE Ellie swore she’d never return to her hometown. But when her ex-bestie reopens the murder case that shattered their lives, she has to join the investigation. Because after all, Ellie is the killer. SYNOPSIS Ellie (38) doesn’t want to be here. She left her hometown as a rejected young woman with a big mouth and a dominant jawline. Now she’s back with the same big mouth and a jawline that cost her the last of her savings. And it’s all because Zohar (38) decided to stir up the past. As Zohar starts planning the special 20-year memorial of Dror Peretz’s death, she can’t shake the feeling she has had for years: something’s off. Sure, the police called it a tragic self-inflicted accident, but Dror was a star athlete, an outstanding student, and a really hot guy. Guys like him don’t just turn up half-naked and completely dead inside the trunk of their own car after a Purim costume party. And for Zohar, it’s personal. Dror was her husband Yiftach’s (38) adored older brother. Zohar is determined to reveal Dror’s real killer at the memorial event, taking place in one month. When Ellie gets a thrilled message from Zohar about her new investigation, she thinks it would be easy to talk her out of it. But Zohar is too stubborn, and Ellie realizes the only way to derail the case is to get on a plane and join it. Zohar has no idea that Ellie, the new Watson to her Sherlock, is the very person she’s trying to hunt down. And since Ellie’s already forced into what’s basically a never-ending high school reunion with the people who made her teenage years a living hell, she figures, why not use this opportunity to settle some scores and get revenge? Bad Blood, based on the graphic novel by Tamar Blumenfeld, is a dark detective comedy that pairs up the detective and the murderer, two ex-best friends, as they each confront the defining trauma that shaped their lives. It’s not a “whodunit”, but a “whydunit”. For Ellie, it’s also a coming-of-age story for someone who’s long overdue for one. She will have to finally stop using the past as an excuse and face the sins she’s worked so hard to bury. WRITER'S STATEMENT At first glance, Ellie is everything I want to be. Shameless, unapologetic, someone who knows her worth. But the more time I spent with her, I realized I’m not drawn to Ellie because she’s brave, but because she’s terrified. She’s constantly dodging responsibility, constantly refusing to grow up. And as much as it sucks to admit, I totally get that. I get not wanting to move forward. We live in a time when we’re finally, rightfully, shifting blame off victims and onto the people who wronged them. But sometimes it just feels good to be the victim. There’s comfort in it. The pain becomes a shield, a way to avoid risk, responsibility, growth. Victimhood is a hell of a drug, and a damn good excuse to stay in your comfort zone. It’s also a great way to escape accountability. As viewers try to understand Ellie and her actions, Ellie herself is undergoing a belated coming-of-age journey of her own. Even though Dror’s death occurred while she was trying to protect Zohar, and could technically be considered self-defense, Ellie still perceives herself as a murderer. That black-and-white view of herself is part of her defense mechanism. It reflects an inability to hold complexity and a method of avoiding true accountability. It’s easier for Ellie to see herself as a monster than to confront the messy truth. She prefers to stay in “everything happens to me” mode and let her trauma take the wheel as she plays the role of the child who is not responsible for anything. Ellie’s arc in the season demands that she stop running from that complexity and admit that during those awful, confusing moments, she killed Dror not only to save her friend but also because she was jealous of her. As horrifying as it sounds, Ellie envied the fact that Zohar was the one Dror chose as his victim, rather than her. Only when Ellie faces up to that truth and really owns it, can she finally move on. ABOUT THE WRITER Or Levy Berger is a screenwriter, director, and ginger. Graduated with honors as a screenwriting major from the Jerusalem Sam Spiegel Film School. Or was the head writer for Flashback Studio (Studio Amatzia, 2024+), a children’s comedy series that combines a live-action sitcom with anime-style animation, which aired on Kan Kids (Israeli Public Broadcasting). She also wrote for various other comedy series, including My Nephew from Hell and Bed & Biscuit. Or feels very self-conscious when she needs to write about herself in the third person, but she guesses that’s part of the format. PRODUCER'S STATEMENT "Bad Blood" expresses the voice of a generation. It is told through the perspective of a creator who belongs exactly to this generation of 30-somethings. The story reckons with the complexities of youth- its transgressions and the powerful, polar extremes ranging from deep insecurity and inferiority complexes to reckless overconfidence. Ellie tried to help Zohar but committed a "sin": she withheld critical information that could have completely transformed Zohar’s life, all under the guise of wanting to protect her. Zohar was raped without knowing she was raped. This raises a profound question: do we truly want to know the truths that could shatter the world we think we know and control? I believe this story, with its unique voice, is both universal and timeless. Yet, it remains specifically attuned to today’s 30-somethings and their capacity to face reality. This is a series that will be "must-watch" television in every home. PRODUCER PROFILE Ananey Studios, a Paramount company, is an award-winning studio that specializes in developing and producing innovative content across a wide range of genres and target audiences, including high-concept dramas, documentaries, live-action preschool shows, kids' and teen series, sitcoms, animation, lifestyle programs, and formats. Ananey Studios' portfolio includes productions that have reached major international platforms such as Netflix, Nickelodeon, MTV, CBBC, and HBO. Our productions uphold the highest standards and showcase the richness and diversity of Israeli storytelling, both within the Israeli market and globally. Notable productions include: Band of Spies (co-production with Paramount), Fireflies for HOT and Paramount+, On Our Own (five seasons) for Kan Kids, Malevolent Bride for Kan (commissioned by A&E), Telling Nuni, an award-winning documentary, and many others. PRODUCTION CONTACT DETAILS Osnat.Saraga@paramount.com Back To Participants PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS 3RD EDITION SERIES CATALOGUE 3RD EDITION PARTICIPANTS AND PROJECTS JURY MENTORS TEAM

Abner Benaim 13TH EDITION CATALOGUE 13TH EDITION PARTICIPANTS AND PROJECTS MENTORS JURY TEAM LAB FILMS Director: Abner Benaim 2018 Year of lab participation: 7 Lab edition: Country: Panama / Mexico Producer: Matthias Ehrenberg Plaza Catedral The 42-year-old Alicia is a grief-stricken woman, a grief that has caused her to be estranged from society. Her world is turned upside down when a 14-year-old boy who looks after people's cars, stumbles into her house, bleeding. Lab edition: Guadalajara International Film Festival 2021 - Best Actor International Film Festival of Panama 2021 - Audience Award Miami Film Festival 2022 Jerusalem Film Festival 2022 Synopsis 2021 Year of release: PITCH Trailer PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS

Philippe Lacôte philippe lacôte Director: 2012 Year of lab participation: 1 Lab edition: Ivory Coast Country: Claire Gadea Producer: Run Run escapes... He just killed the Prime Minister of his country. In order to do so, he had to act as if he was a crazy man, wandering through the city. His life comes back by flashes. Synopsis Cannes Film Festival 2014 Toronto International Film Festival 2014 AFI Fest 2014 Trophees Francophones du Cinema 2015 - Best Actor Jerusalem Sam Spiegel Film Lab 2012 - 1st Prize Winner Festivals & Awards 2014 Year of release: Trailer IMDb PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS HOME FILM LAB WHO'S WHO MENTORS PROFESSIONAL GUESTS JURY SCOUTS AND PITCHING DECISION MAKERS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION RULES & REGULATIONS FILM FAQ

The Widow's Detective Add a Title Add a Title Send Send Eitan Mansuri Producers: , Boaz Frenkel The Widow's Detective Lab Edition 3 2024 PITCH LOGLINE An ultra-Orthodox PI from Brooklyn is hired by a young widow to find her missing brother-in-law to perform a "Halitza," a religious ceremony that frees her from the obligation to marry her late husband's brother, thus freeing her to remarry SYNOPSIS Simcha (40), An ultra-Orthodox PI from Brooklyn, is hired by a young widow to find her missing brother-in-law for a "Halitza” ceremony. The case takes a dark turn when he discovers his client is an impostor and that her operator was murdered. Now the prime suspect, Simcha embarks on a fateful journey to find the mysterious brother and clear his name. This leads him all the way to Hamburg's secular nightlife, where he finds himself embroiled in a deep corrupted inheritance battle within a large Hasidic court and uncovers a secret bigger than expected. WRITER'S STATEMENT The Widow’s Detective is a Jewish and cynical version of American film noir movies from the 1930s and 1940s and neo-noir films from the 1970s to the present day. The encounter of this genre with the mysterious, closed, crowded, and non-individualistic ultra-Orthodox enclave of Williamsburg creates a connection that produces an ironic gap filled with dark and mysterious tones. This world becomes both a haven and a prison for characters who navigate secrets and have clashing expectations. With high-contrast lighting in narrow alleys and dimly-lit yeshivas, the series explores faith and identity amid mystery. It's Shtisel meets Chinatown, probing the tension between modernity and tradition. PRODUCER'S STATEMENT When we encountered Boaz Frankel's previous works, it was clear to us that he had a unique vision and a deep understanding of the complexities within the worlds he portrays and we were very eager to work with him on this project. "The Widow's Detective" stands out by merging the intricacies of a Hasidic Jewish community with the timeless appeal of a film noir detective story. This fusion offers a fresh and distinctive perspective. Boaz’s film noir-inspired lens adds depth and intensity, promising a visually striking and emotionally compelling experience that we believe will captivate audiences worldwide. We are incredibly excited to bring this project to light and share it with the audience. LOOKING FOR Back To Participants HOME SERIES LAB WHO'S WHO MENTORS PROFESSIONAL GUESTS JURY ADVISORY BOARD PARTICIPANTS PARTICIPATION APPLICATION RULES & REGULATIONS FAQ PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS

The third edition of our Series Lab has just ended another intensive session. This week our 8 teams had an in-depth working week that included masterclasses from special guests TV creator and screenwriter ("Die Zweiflers") David Hadda, talking about the state of Jewish storytelling; content editor and screenwriter Omri Marcus discussing the use of AI as an empowering creative tool; and leading expert and producer Danna Stern on navigating the global scripted industry. But mostly our participants had productive and instructive one-on-one meetings with our team of expert mentors: Noah Stollman, Keren Margalit, Ossi Nishri and Gal Zaid. What a great week! Photo by: Yossi Zwecker The third edition of our Series Lab has just ended another intensive session. This week our 8 teams had an in-depth working week that included masterclasses from special guests TV creator and screenwriter ("Die Zweiflers") David Hadda, talking about the state of Jewish storytelling; content editor and screenwriter Omri Marcus discussing the use of AI as an empowering creative tool; and leading expert and producer Danna Stern on navigating the global scripted industry. But mostly our participants had productive and instructive one-on-one meetings with our team of expert mentors: Noah Stollman, Keren Margalit, Ossi Nishri and Gal Zaid. What a great week! Photo by: Yossi Zwecker Session no. 2 of the Series Lab's 3rd Edition Concludes NEWS ITEM PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS HOME FILM LAB SERIES LAB TEAM NEWS

The Widow's Detective The Widow's Detective Screenwriter: Eitan Mansuri Producer/s Eitan Mansuri , Spiro Films Language: English, Yiddish, Germany Format: 8 Episodes x 45 Minutes Genre Detective Thriller Send PITCHDECK LOGLINE An ultra-Orthodox PI from Brooklyn is hired by a young widow to find her missing brother-in-law to perform a "Halitza," a religious ceremony that frees her from the obligation to marry her late husband's brother, thus freeing her to remarry SYNOPSIS Simcha (40), An ultra-Orthodox PI from Brooklyn, is hired by a young widow to find her missing brother-in-law for a "Halitza” ceremony. The case takes a dark turn when he discovers his client is an impostor and that her operator was murdered. Now the prime suspect, Simcha embarks on a fateful journey to find the mysterious brother and clear his name. This leads him all the way to Hamburg's secular nightlife, where he finds himself embroiled in a deep corrupted inheritance battle within a large Hasidic court and uncovers a secret bigger than expected. WRITER'S STATEMENT The Widow’s Detective is a Jewish and cynical version of American film noir movies from the 1930s and 1940s and neo-noir films from the 1970s to the present day. The encounter of this genre with the mysterious, closed, crowded, and non-individualistic ultra-Orthodox enclave of Williamsburg creates a connection that produces an ironic gap filled with dark and mysterious tones. This world becomes both a haven and a prison for characters who navigate secrets and have clashing expectations. With high-contrast lighting in narrow alleys and dimly-lit yeshivas, the series explores faith and identity amid mystery. It's Shtisel meets Chinatown, probing the tension between modernity and tradition. ABOUT THE WRITER Boaz Frankel, a director, editor, and screenwriter, was raised in a religious Jewish family but now identifies as secular and resides in Tel Aviv. He won the Israeli Television Award for directing the series REHEARSELS, which was later sold to Hulu. His diploma film 212 won the Best Student Film Award at the San Sebastian Film Festival. His short film KILOMETER 147 won the Israeli Academy Award for Best Short Film. Frankel studied filmmaking at Sam Spiegel Film School and video art at Bezalel Academy of Arts. PRODUCER'S STATEMENT When we encountered Boaz Frankel's previous works, it was clear to us that he had a unique vision and a deep understanding of the complexities within the worlds he portrays and we were very eager to work with him on this project. "The Widow's Detective" stands out by merging the intricacies of a Hasidic Jewish community with the timeless appeal of a film noir detective story. This fusion offers a fresh and distinctive perspective. Boaz’s film noir-inspired lens adds depth and intensity, promising a visually striking and emotionally compelling experience that we believe will captivate audiences worldwide. We are incredibly excited to bring this project to light and share it with the audience. PRODUCER PROFILE Spiro Films, co-founded in 2013 by Eitan Mansuri and Jonathan Doweck, is a Tel-Aviv-based production company creating films and scripted TV for Israeli and international markets. Their productions include NO MAN'S LAND (Hulu/Arte), FOXTROT (Venice Grand Jury Prize, Oscar shortlist), WHEN HEROES FLY (remade for Apple TV as Echo 3), THE OPERATIVE (Berlinale selection), and HERE WE ARE (Cannes selection). Spiro Films is a member of The Creatives, an alliance of ten international production companies. PRODUCTION CONTACT DETAILS eitan@spiro-films.com Back To Participants PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS HOME SERIES LAB WHO'S WHO MENTORS PROFESSIONAL GUESTS JURY ADVISORY BOARD PARTICIPANTS PARTICIPATION APPLICATION RULES & REGULATIONS FAQ

Congratulations to Myrsini Aristidou from Cyprus, participant of the Sam Spiegel International Film Lab's 9th Edition, that won the audience award at the Sundance Film Festival 2026, as part of the World Cinema Dramatic Competition. What a great way to start the film's journey around the world! Congratulations to Myrsini Aristidou from Cyprus, participant of the Sam Spiegel International Film Lab's 9th Edition, that won the audience award at the Sundance Film Festival 2026, as part of the World Cinema Dramatic Competition. What a great way to start the film's journey around the world! "Hold Onto Me" Wins Audience Award at Sundance Film Festival NEWS ITEM PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS HOME FILM LAB SERIES LAB TEAM NEWS

The Parasite PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS 3RD EDITION SERIES CATALOGUE 3RD EDITION PARTICIPANTS AND PROJECTS JURY MENTORS TEAM

Fig Tree Fig Tree Alamork Marsha Davidian Producer Naomi Levari & Saar Yogev Lab Edition 3 , 2014 SCENE PITCH Production Country Israel SYNOPSIS 16 year old Jewish Mina, is trying to navigate between a surreal routine dictated by the civil war in Ethiopia and her last days of youth with her Christian boyfriend Eli. When she discovers that her family is planning to immigrate to Israel and escape the war, she weaves an alternate plan in order to save Eli. But in times of war, plans tend to go wrong. Marsha's coming of age film debut film is based on her childhood memories of a civil-war-torn Ethiopia. DIRECTOR'S NOTE LOG LINE 16 year old Jewish Mina, is trying to navigate between a surreal routine dictated by the civil war in Ethiopia and her last days of youth with her Christian boyfriend Eli. When she discovers that her family is planning to immigrate to Israel and escape the war, she weaves an alternate plan in order to save Eli. But in times of war, plans tend to go wrong. Marsha's coming of age film debut film is based on her childhood memories of a civil-war-torn Ethiopia. ABOUT THE FILMMAKER PRODUCER Naomi Levari & Saar Yogev PRODUCTION COMPANY PROFILE PRODUCTION BUDGET LANGUAGE GENRE Back To Participants PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS HOME FILM LAB WHO'S WHO MENTORS PROFESSIONAL GUESTS JURY SCOUTS AND PITCHING DECISION MAKERS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION RULES & REGULATIONS FILM FAQ

The Plasticians The Plasticians Screenwriter: Eitan Mansuri Producer/s Eitan Mansuri , Spiro Films Language: Hebrew Format: Genre Send PITCHDECK LOGLINE An illegal plastic surgery clinic, binds the fate of a mother and daughter, who are dragged into running the business from their crumbling living room. As they rise as successful business-women, their harsh reality creeps back in, facing them with the realisation that their empowerment is a mere façade. SYNOPSIS An ambitious secretary, an immigrant from the USSR, wants to become a successful life coach. Unfortunately, she can't get out from under the burden of the symbiotic relationship with her mother, a surgeon from Moscow who has become a taxi driver since immigrating to Israel. In order to finally leave the house and jumpstart her career, she has to find a way for her mom to function without her. She decides to set up a makeshift surgical clinic at home, so her mother can regain the dignity and sense of purpose she lost. While she waits for the medical license to be approved, the underground clinic begins to grow. The daughter is tempted to give up on her own dreams and live forever alongside this happier and stronger version of her mother, the mother she always wanted. The two form a surprising camaraderie through their complicity in crime, and drag each other deeper into the underworld. WRITER'S STATEMENT I was born in St. Petersburg and grew up in an immigrant home in Israel, alongside two educated parents who managed to always take care of the family's financial security, but never found professional fulfilment. I am a daily witness to the dissonance between the successful professionals my parents once were, and the life of survival and compromise brought forth by immigration. The trauma of immigration naturally passed onto the next generation. The parent-child relationship was turned on its head, and the children often functioned as the responsible adults in the family. As someone who grew up this way, I have always had an impossible dream: to restore my parent’s dignity and see them strong and full of confidence. However, my parents and their friends chose to embrace life and live it to the fullest. They write plays for birthdays, record songs for each other, dance, drink and soothe their pain with a passion for life and love, trying above all else to forget the instability and uncertainty of life. The massive addiction to plastic surgery is in fact an attempt at controlling the uncontrollable, a human desire to look good, or simply be seen. In the unique clinic which our series creates, both the immigrant staff and their clients, are driven by the same human nature to survive. Plastic surgery has become even more popular and accessible in recent years. Still, it is a medical procedure, surgery, positioning the patients seeking treatment as 'ill,' not good-looking or young enough; consequently, the notion of 'healing' through a plastic surgery is very limited. In many cases, dealing with eternal appearance is caused by psychological problems that are neglected and even exacerbated. In this series, I hope to present the other side of the beauty industry's enticing brochures, and focusing on the mental motivations for seeking an external solution. ABOUT THE WRITER PRODUCER'S STATEMENT In 1990, the dissolution of the Soviet Union sparked a significant wave of Russian immigration worldwide. Among these migrations, the influx of Jewish Russians to Israel stands as the nation's largest ever witnessed, with one million individuals making the journey. While many managed to integrate successfully, others faced challenges. "The Plasticians" delves into the narratives of those who struggled to integrate fully into society but nonetheless, never gave up on their joy of life, their culture and definitely not on their dreams. This series raises relevant, global questions about immigration, belonging, and the coexistence of cultures within a nation. It offers a fresh perspective on Russian immigrants who abandoned their previous lives, professions, and sometimes families in pursuit of a new home. Hila Royzenman introduced the project at the Series Mania writer's campus 2022, showcasing her promise as a young director with a distinct voice and deep understanding of these characters' worlds. The series is multilingual, featuring dialogue in Hebrew, Russian, and English, indicating its potential to transcend borders. 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