László Nemes  László Nemes Director: 2013 Year of lab participation: 2 Lab edition: Hungary Country: Gabor Sipos Producer: Son of Saul A Jewish-Hungarian concentration camp prisoner sets out to give a child he mistook for his son a proper burial. Synopsis Cannes Film Festival 2015 - Grand Prize of the Jury, FIPRESCI Prize, François Chalais Award, Vulcain Prize for the Technical Artist American Academy Awards - Best Foreign Language Film of the Year Golden Globes 2016 - Best Motion Picture in Foreign Language BAFTA Awards 2017 - Best Film not in the English Language Palm Springs International Film Festival 2016 - Directors to Watch Polish Film Awards 2017 - Best European Film Sarajevo Film Festival 2015 Telluride Film Festival 2015 Toronto International Film Festival 2015 Festivals & Awards 2015 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

ALIYA ALIYA Dekel Berenson Producers Paul Wesley, Marek Rozenbaum, Alexander Rodnyansky Lab Edition 9 , 2021 SCENE PITCH Production Country Israel SYNOPSIS Aliya, an 18-year-old recent immigrant from Ukraine, finds meaning in her newly discovered Jewish identity and in feelings of patriotism towards her adopted country. Wanting to do her share, she had volunteered to join the Israeli army and now trains to become a drill instructor, where she learns how to turn just out of high-school teenagers into toughened IDF soldiers. Still new in the country and unfamiliar with the nuances of Israeli society, she struggles to fit in and finds herself increasingly isolated, particularly as she intends on being the best soldier in the course. After weeks of intense physical and psychological training at the desert base, her company receives seventy-two hours leave, and Aliya returns to her family in Tel Aviv. At home, Aliya is confronted by her mother, who is much less enthusiastic than her about the family's move to Israel, and especially with her daughter's decision to join the military. Determined to have fun, Aliya heads into the city for a night out but ends up being assaulted by her date. After a turbulent and unsettling weekend at home, Aliya must return to the military base but struggles to complete her course as she re-evaluates her values, beliefs, and place in Israeli society. DIRECTOR'S NOTE In many ways, Aliya is an autobiographical film. I left my home country of Israel at the age of 21, days after completing my mandatory three years of service in the Israeli Defense Forces. The reasons I left are complex, yet they primarily have to do with my disenchantment with many of the values and beliefs I was brought up with, both social and political. Inversely, Aliya, who discovered as a teenager that she was Jewish, immigrates to Israel with her family so she could join the military. In its heart, deeply personal, Aliya is a coming of age story, yet it is one that also encapsulates the narrative of an entire country, in which interpersonal relationships are a metaphor for violence between nations and people. A militarized country, one which is in a constant state of war, is inherently violent, not only towards its adversaries but towards its own people as well. Put simply, the violence one inflicts upon others always ends up being inflicted upon oneself. While taking place in Israel, Aliya is a universally important and timely film that touches on themes that concern all people, regardless of race, gender, or background. Moreover, it is a story that is personal to me, and a strong reflection of my values as they relate to nationalism, religion, hierarchies, authority, and power. These are themes that I’ve explored for almost two decades, since my days in Budapest studying towards a Master’s degree in International Relations. I hope that by turning these cerebral ideas into film, audiences all over the world will gain insight not only into the double-edged nature of violence in the Middle East as it manifests itself in the lives of Israelis, but in their personal lives as well, whoever they are, and wherever they may be LOG LINE Aliya, an 18-year-old immigrant from Ukraine, finds meaning in her recently discovered Jewish identity and patriotism towards her newly adopted country. Training to become a drill sergeant in the Israeli army, she finds it hard to go on with her life, and considers her role in society, and in training young men in the military. ABOUT THE FILMMAKER PRODUCERS Paul Wesley, Marek Rozenbaum, Alexander Rodnyansky Marek Rozenbaum holds a degree in Social work and Film from the Tel Aviv University. He has directed 2 films and produced over 40 feature films and international co-productions, among them award-winning films that have received worldwide recognition. Mr. Rozenbaum is the recipient of five Ophir Best Film Awards. He served as Chairman of Israel's Film and Television Producers Association and today is a Member of its Board as well as chairing the Israeli Academy of Film and Television for a decade PRODUCTION COMPANY PROFILE Transfax Film Productions was established in 1989 as an independent production company specializing in feature film production and co-production. The company has produced over 40 feature films and international co-productions -many winning international prizes including Keren Yedaya’s Or (Camera D’or)& That Lovely Girl, and A Strange Course of Events by Raphael Nadjari (Quinzaine des Realisateurs) and Our Father by Meni Yaish. Production Company Transfax, Tel Aviv, Israel mailto:marek@transfax.co.il +972 50 523 8766 PRODUCTION BUDGET Production Budget $1,400,000 LANGUAGE Hebrew, Russian Drama 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

Oded Binnun and Mihal Brezis 13TH EDITION CATALOGUE 13TH EDITION PARTICIPANTS AND PROJECTS MENTORS JURY TEAM LAB FILMS Director: Oded Binnun, Mihal Brezis 2015 Year of lab participation: 4 Lab edition: Country: Israel Producer: Yael Abecassis Dead Language A chance encounter leads Aya to pick up a stranger at the airport. When he disappears, he leaves behind a gnawing hunger-one which perhaps only a complete stranger could fulfill. Lab edition: Tribeca Film Festival 2025 Jerusalem Film Festival 2025 - Best Screenplay Synopsis 2025 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

The Parasite The Parasite Screenwriter: Marek Rozenbaum Producer/s Marek Rozenbaum , Transfax Productions Language: Hebrew Format: Genre Send PITCHDECK LOGLINE Scarred by a traumatic breakup, a dedicated social worker at a women's shelter encounters a charismatic man who promises the life of her dreams. Despite her professional expertise, she’s oblivious to the red flags and succumbs to his charms. When she tries to break free, she discovers it's too late. SYNOPSIS Daphne is a dedicated social worker at a women’s shelter working with teenage girls who moved there with their mothers. After a painful breakup, Daphne's sister persuades her to join a empowerment workshop. That’s where she meets Elad. From the moment the two started sharing their secrets, they’re completely inseparable. She’s flattered by his acts of jealousy, he dreams of the day they start a family. Elad moves in with Daphne, and soon enough he proposes. Moral is a bright teenager from the shelter and in love with Johnny, a juvenile delinquent. Their relationship worries Daphne. She fears that Moral, a skilled athlete, will get carried away and stop training regularly. When Elad loses his job, he grows more and more demanding of Daphne’s attention. His neediness charms her; she’s never met such a sensitive man. During a tasting for their upcoming wedding, Daphne is urgently called to the shelter. Moral’s father has found the shelter’s address and is there now, trying to convince Moral’s mother to get back with him. Elad feels betrayed and upset that Daphne left at such a crucial moment. He keeps looking for faults in the way Daphne conducts herself, indicating her loyalty to Moral as the reason their relationship went awry. They fight endlessly, to the point of mutual acts of violence. Daphne informs Elad that she wants to postpone their wedding and take some time off. Reminding her that she is the biggest advocate of people’s ability to change, Elad uses all kinds of manipulations and begs her not to give up on him, on them. Daphne forgives him and their relationship is seemingly back on track. But after she falls asleep he secretly installs a spyware app on her phone. Despite Daphne's professional expertise, she’s oblivious to the red flags and succumbs to his charms. The series will follow the chain of events leading her to fall into Elad’s web, including the moment she realizes she has been trapped and her feeble attempts to escape – until it’s too late. WRITER'S STATEMENT "The Parasite" is inspired by Michal Sela's case. She was a social worker who was leading a double life. Her murder shocked everyone around her. She had never told a soul about the abuse she was suffering in the hands of her husband, Eliran. As bad as it was, he had never raised a hand on her, and therefore she wasn’t aware of just how dangerous he is and didn’t recognize the signs that started from the beginning of their relationship. Having volunteered in the Michal Sela Forum, I had the privilege of getting to know her family from up close. In this process, I learned that emotional, financial and physical abuse usually have the same patterns and signs. Women from all across the country, of all races, religions and classes are paying a much too heavy price, and the spotlight needs to be shifted. In her manifest (titled “The Parasite”), Lili Ben-Ami explains this principle well by comparing the murdering husband to a parasite: “The parasite lacks means to sustain its own life, and feeds on the other, the stronger, which acts as a host. The parasite clings onto the powerful, compassionate host and turns her into its food, sucking his life force from her.” Lili, who is Michal’s sister and head of The Michal Sela Forum, will act as the series consultant. So, what brings a successful young woman, whose life’s work revolves around helping women, fall into a destructive relationship with an abusive man? And on the other hand, what tragic chain of events turns a man into a full-on narcissist and even a murderer? What happens behind closed doors, just before the murder takes place? Are all women in danger of being murdered and all men in danger of becoming murderers? "The Parasite" will allow viewers a glimpse of this subject from an angle less explored; through daily life, the destructive dynamic that repeats itself over and over again. There will be moments when this outcry will be hard to bear, but my hope is that it will shed light on the matter and do some justice to all those strong women who only wanted to be loved. ABOUT THE WRITER PRODUCER'S STATEMENT The project started as a character based true story-case study. As we progressed we understood that we are dealing with a behavioural pattern which appears in almost every violent relationship when a man tries to possess his woman partner. A repetitive step deal, where at the end, the woman either breaks out of the relationship or dies. I believe the story is universal, and happens in every country and society. The pattern stays the same. As such, I strongly believe in the relevance of this series worldwide, and I am looking forward to finding collaborators. PRODUCER PROFILE PRODUCTION CONTACT DETAILS 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

Windless Windless Pavel Vesnakov Producer Veselka Kiryakova Lab Edition 9 , 2021 SCENE PITCH Production Country Bulgaria SYNOPSIS After years away, Kaloyan returns to Bulgaria to sell his late father's flat. Initially a routine task, it gradually becomes a journey of self-discovery, confronting distant traumas while finding a new path. DIRECTOR'S NOTE This movie explores the alienation between three family members who have forgotten how to love and share their feelings. Asen is part of a lost generation stuck somewhere in the transition between Communism and Democracy. Asen’s father Kaloyan, is a man of dignity and long forgotten values. Somewhere between the conflict between Asen and Kaloyan, Koko lies hidden. He’s a boy on the verge of manhood, desperately searching for a role model in his life. I am searching for an answer to the question are we, as society, capable of producing persons of honour anymore? I know that the movie is not going to give a definitive answer but it can lead us searching for it. The most important inspiration for this project was the life of my grandfather. He was a talented poet, but because he was against the communist regime, he wasn’t allowed to publish any books until the fall of the communism. He once told me: “They can always take you everything you have, but no one can take your dignity.” When I heard this sentence, I was so young that I didn’t pay much attention to it. Nowadays I think a lot about this subject and I based the foundation of my movie around it. The rhythm of the movie will be closer to an observation that will urge the audience to search for a self-knowledgeable experience. The lack of any wind even in the widest environments will serve as a metaphor for the lost path that our civilisation is heading on. The camera movement will help me shape this narrative as poetic as possible. In order to achieve this, I will use mainly long static shots. I am also planning to use old anamorphic lenses that will add another layer of timelessness to the movie. LOG LINE After years away, Kaloyan returns to Bulgaria to sell his late father's flat. Initially a routine task, it gradually becomes a journey of self-discovery, confronting distant traumas while finding a new path. ABOUT THE FILMMAKER PRODUCER Veselka Kiryakova Veselka Kiryakova Producer, Bulgaria Veselka Kiryakova’s producing credits include Alienation (2013), which premiered at Venice and won two awards. Ága (2018), by Milko Lazarov, premiered at Berlinale 2018 and won more than 40 awards around the world, such as Grand Prix in Tehran, Cabourg, Chukotka, Heart of Sarajevo etc. An EAVE workshop graduate and a member of EFA, Veselka took part in PRODUCERS ON THE MOVE, Cannes in 2018. PRODUCTION COMPANY PROFILE Red Carpet Films, Sofia, Bulgaria redcarpetfilms.bg@gmail.com +359 898610764 PRODUCTION BUDGET Production Budget $1.230.541 Secured funds $545.454,55 FSA/ Brazilian Cinema Agency Prize; $365.470,21Globo Filmes / Co-producer through Audiovisual Law; $85.818,18 Private investors through Audiovisual Law; $51.980,15 Direct funds from the producer; $181.818,18 GAP LANGUAGE Bulgarian Drama 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

Who Lives There? Who Lives There? Omer Ben-David, Vera Grinblat Producer Estee Mecklberg Lab Edition 12 , 2024 SCENE PITCH Production 2-Team Productions Country Israel SYNOPSIS A dark dramedy about Aya, 15, an introverted cellist who escapes her home to a free of charge religious boarding school, where she only intends to spend one year, until she’ll be accepted to a music school. Aya encounters violence and strict rules, and in order to survive, she befriends Michelle, a charismatic destructive girl. As the two form a new home, an island of sanity, in the midst of the chaos, we enter through them to a world of women, with no good or bad, just survival. DIRECTOR'S NOTE Vera – when I came to the understanding that a home that harms me is not a home, I left to look for another one. In the boarding school I found it - but at what cost? Omer - After hearing Vera's story of how she imagined crazy traumas in homes outside of the school, I related to the girls' humorous desire to normalize reality. Although we try to keep the world realistic, we wish to give the film a fun & formalistic stylized approach - Just as the girls themself try to portray their own reality. LOG LINE An introverted 15-year-old, flees her dysfunctional family into a strict religious boarding school, where she discovers a new home under the wings of a destructive girl. Through them, we enter a world with no good or bad, just survival. ABOUT THE FILMMAKER ○ Omer Ben-David is a writer-director, graduate of Columbia University. Omer’s 6 short films, along with commercial works, screened in Raindance, LA Shorts, Vancouver, earning him an honorable mention at Berlin Music Video Awards, and a Grand Prix at Cannes Lions. ○ Vera Grinblat is a production designer who worked on The Death of Cinema and My Father Too, which premiered in Cannes, and The Beauty Queen of Jerusalem on Netflix. She is a graduate of Beit Berl School of Film and the Bezalel Academy of Art. PRODUCER Estee Mecklberg 2-Team Productions is one of the leading Israeli film production companies focusing on crossover feature films – films with highly artistic content, and outstanding audience appeal. 2-Team’s films have participated in all major international film festivals, including Cannes, Berlin,Tribeca, Venice, Toronto, and Sundance, won numerous international and Israeli awards (including Sundance Grand Jury Prize, Venice Audience Award, Emmy Award and Israeli Academy Best Film Awards) and, at the same time, were successfully distributed in Israel and around the world. PRODUCTION COMPANY PROFILE ○ 2-Team Productions, Tel-Aviv ○ +972 54 4592223 ○ tomer@2-team.com PRODUCTION BUDGET ○ Total budget: 935,000 USD LANGUAGE Hebrew Dark Drama-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

The Death of Black Horses The Death of Black Horses Ferit Karahan Producer Gabriele Oricchio Lab Edition 4 , 2015 SCENE PITCH Production Country Turkey SYNOPSIS DIRECTOR'S NOTE LOG LINE ABOUT THE FILMMAKER PRODUCER Gabriele Oricchio 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

Antoneta Alamat Kusijanovic 13TH EDITION CATALOGUE 13TH EDITION PARTICIPANTS AND PROJECTS MENTORS JURY TEAM LAB FILMS Director: Antoneta Alamat Kusijanovic 2018 Year of lab participation: 7 Lab edition: Country: United States / Croatia Producer: Zdenka Gold Murina A teenage girl decides to replace her controlling father with his wealthy foreign friend during a weekend trip to the Adriatic Sea. Lab edition: Cannes Film Festival 2021 - Golden Camera Sarajevo Film Festival 2021 Toronto International Film Festival 2021 Haifa Film Festival 2021 Gotham Awards 2022 - Breakthrough Performer Sofia International Film Festival 2022 - Grand Prix Blakan Competition 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

‬Congratulations to Jonathan Dekel, graduate of the Sam Spiegel International Film Lab, whose film "Checkout" is screening theatrically. The film was developed as part of the 7th edition of the Lab and won first place that year. Wishing you great success! ‬Congratulations to Jonathan Dekel, graduate of the Sam Spiegel International Film Lab, whose film "Checkout" is screening theatrically. The film was developed as part of the 7th edition of the Lab and won first place that year. Wishing you great success! The film "Checkout" is out on theatres! 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

Congratulations to our alumnus nominated for this year's Israeli Academy Awards (Ophirs): "The Sea" by Shai Carmeli Pollak (developed in the 5th edition of the Lab) - with 13 nominations, including Best Film, Best Director and Best Screenwriter "Dead Language" by Mihal Brezis and Oded Binnun (developed in the 4th edition of the Lab) - with 12 nominations, including Best Film, Best Director and Best Screenwriter "Oxygen" by Netalie Braun (developed in the 9th edition of the Lab) - with 8 nominations, including Best Film, Best Director and Best Screenwriter Congratulations to our alumnus nominated for this year's Israeli Academy Awards (Ophirs): "The Sea" by Shai Carmeli Pollak (developed in the 5th edition of the Lab) - with 13 nominations, including Best Film, Best Director and Best Screenwriter "Dead Language" by Mihal Brezis and Oded Binnun (developed in the 4th edition of the Lab) - with 12 nominations, including Best Film, Best Director and Best Screenwriter "Oxygen" by Netalie Braun (developed in the 9th edition of the Lab) - with 8 nominations, including Best Film, Best Director and Best Screenwriter ״The Sea" Swipes Most Nominations For This Year's Israeli Academy Awards 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

Bad Blood Bad Blood Screenwriter: Osnat Saraga Producer/s Osnat Saraga , Paramount Israel (Ananey Studios) Language: Hebrew Format: 8 Episodes x 35 Minutes Genre Drama, Comedy 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 HOME SERIES LAB WHO'S WHO MENTORS PROFESSIONAL GUESTS JURY ADVISORY BOARD PARTICIPANTS PARTICIPATION APPLICATION RULES & REGULATIONS FAQ

Hot off the success of his first feature "Karaoke", Lab alum Moshe Rosenthal just finished principal shooting of his second feature film, "Independence", which he developed at our 7th edition. The film is produced by Green Productions. Best of luck to Moshe and the whole team! Hot off the success of his first feature "Karaoke", Lab alum Moshe Rosenthal just finished principal shooting of his second feature film, "Independence", which he developed at our 7th edition. The film is produced by Green Productions. Best of luck to Moshe and the whole team! Moshe Rosenthal's Film "Independence" Finished Principal Shooting 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