We are super proud of alum Abner Benaim! Panama's official entry into the 2022 Academy Awards is Plaza Catedral, developed at the 2018 JSFL and on the Oscar shortlist! Mazal tov and good luck from us all! https://www.oscars.org/news/94th-oscarsr-shortlists-10-award-categories-announced We are super proud of alum Abner Benaim! Panama's official entry into the 2022 Academy Awards is Plaza Catedral, developed at the 2018 JSFL and on the Oscar shortlist! Mazal tov and good luck from us all! https://www.oscars.org/news/94th-oscarsr-shortlists-10-award-categories-announced We are super proud of alum Abner Benaim! Panama's official entry into the 2022 Academy Awards is Plaza Catedral, developed at the 2018 JSFL and on the Oscar shortlist! NEWS ITEM PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS 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 Plasticians The Plasticians Screenwriter: Hila Elena Royzenman Producer: Eitan Mansuri , Spiro Films Language: Hebrew Format: 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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The Bride PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS 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

The Good Fence The Good Fence Hillel Rate Producer Lev Orlov Lab Edition 12 , 2024 SCENE PITCH Production Lev Orlov Films Country Israel SYNOPSIS Avner yearns to include his daughter’s name on the community’s monument, despite her suicide and burial outside of the cemetery’s fence. When his son, a left-wing activist, faces accusations of unlawful activities, Avner releases him on bail and allows him to serve house arrest at home. The Orthodox community reacts strongly to the son’s presence, forcing Avner to choose between his daughter and his son. DIRECTOR'S NOTE "The Good Fence" combines socio-political drama with a personal family story, highlighting society’s, and even a family’s, blindness to the "other." This is my story and my father’s, and, in my opinion, it’s the story of everyone who has chosen a path different from their parents. As a non-practicing Jew raised in a religious home, I experience firsthand the tension between my own worldview and the one I was raised with. I lost my father about a year and a half ago. Our relationship was complicated because I opposed many of his values. His passing was unexpected, and we didn’t have a chance to say goodbye or part amicably. This script is my attempt to give voice to the loss I experienced and that many who leave their religious affiliation still feel. It’s an opportunity to address the tension between traditional and modern views and a call to the hard work of Sh’lom Bayit, making peace with one’s home. LOG LINE Avner reluctantly permitted the community to bury his beloved daughter outside the cemetery's fence after her suicide. Now, he believes that adding her name to a new respected-memorial for the fallen will atone for this sin. But when his estranged son returns for house arrest, what seems like an obstacle to achieving his goal, brings the most profound healing. ABOUT THE FILMMAKER Hillel Rate, an independent Israeli filmmaker graduated with honors from the Maaleh School of Cinema and Television and completed his master's degree (MFA) cum laude in documentary cinema from Tel Aviv University. In addition, He works with festivals around the world as a jury and selection committee member. His short films have been screened at festivals around the world including among others, the Jerusalem IFF, Doc Aviv IFF, Hot Docs Canadian FF and Astra FF. Hillel's films deal with firsthand stories and focus on marginalized figures in Israeli society. He believes that through personal stories and intimate experiences, it is possible to create narratives that have a broad social impact. His point of view and visual tone are subtle, full of compassion and respect for his characters. PRODUCER Lev Orlov Lev Orlov is an independent film producer based in Tel Aviv and head of Lev Orlov Films. A graduate of the Innovative Producing Studies at Sam Spiegel Film and Television School, he produced award-winning short films that have featured in festivals worldwide. Currently, Lev focuses on producing fiction, documentary, and animation films with promising young Israeli and Palestinian filmmakers. His first feature film, Clouds of Dust (IS-PL-FR-CO), directed by Inbar Horesh and written by Bar Cohen and Inbar Horesh, is currently in pre-production. PRODUCTION COMPANY PROFILE ○ Lev Orlov Films, Tel Aviv ○ orlov.lev95@gmail.com ○ +972544951604 PRODUCTION BUDGET ○ Total budget: 800,000 USD LANGUAGE Hebrew Drama GENRE Back To Participants PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS 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

Crossing the Line PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS 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

Introducing the new JSFL Series Lab The Jerusalem Sam Spiegel Film School is launching the inaugural Series Lab supported by Netflix and ViacomCBS International Studios. The Series Lab follows on from the acclaimed Sam Spiegel Film Lab now in its 10th year. This new Series Lab is a natural extension of the educational vision of the JSFS which has a long track record of nurturing local talent and will support the development of scripted series by young creators based in Israel. The Series Lab aims to provide the support and networks to help participants thrive in the global scripted television market. A Netflix partnership to support the next generation of creators in Israel | Larry Tanz | The Blogs (timesofisrael.com) --> https://blogs.timesofisrael.com/a-netflix-partnership-to-support-the-next-generation-of-creators-in-israel/ Series Lab | Jerusalem (jsfs.co.il) --> https://www.filmlab.jsfs.co.il/series-lab Introducing the new JSFL Series Lab The Jerusalem Sam Spiegel Film School is launching the inaugural Series Lab supported by Netflix and ViacomCBS International Studios. The Series Lab follows on from the acclaimed Sam Spiegel Film Lab now in its 10th year. This new Series Lab is a natural extension of the educational vision of the JSFS which has a long track record of nurturing local talent and will support the development of scripted series by young creators based in Israel. The Series Lab aims to provide the support and networks to help participants thrive in the global scripted television market. A Netflix partnership to support the next generation of creators in Israel | Larry Tanz | The Blogs (timesofisrael.com) --> https://blogs.timesofisrael.com/a-netflix-partnership-to-support-the-next-generation-of-creators-in-israel/ Series Lab | Jerusalem (jsfs.co.il) --> https://www.filmlab.jsfs.co.il/series-lab Introducing the new JSFL Series Lab NEWS ITEM PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS 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

Girls Will Be Girls Girls Will Be Girls Shuchi Talati Producers Sanjay Gulati, Richa Chadda Lab Edition 9 , 2021 SCENE PITCH Production Country India SYNOPSIS Follows the journey of 16 year old Mira, whose sexy, rebellious coming of age is disrupted by her young mother who never got to come of age herself. DIRECTOR'S NOTE Director’s Note GIRLS WILL BE GIRLS is set in a conservative Hindu school much like my school where we started each day with a pledge to “preserve our ageless Indian culture and conform to the way of life prescribed by it.” As I sprouted breasts, I understood that ‘Indian culture’ was the reason my skirt had to be long and my behavior demure. We were being taught to be ashamed of our bodies and sexuality while male sexuality was allowed to express itself, often in aggression towards us. Meanwhile, real female bodies and female desire were also erased from our screens. Breasts and butts were hypersexualized as women gyrated for the male gaze. But vaginas, menstruation, pubic hair, etc. were absent or treated with embarrassment and revulsion. The effect of this erasure is to cast our bodies as something shameful. It teaches us to be compliant and afraid of our body, sexuality and voice. Despite this, all around me I saw fierce, funny women who subverted social and moral codes. In GIRLS I wanted to write about these women who populated my life but not my screens. In GIRLS, Mira and her mother Anila are sexual, embodied beings with secretions and desires. Mira examines her vagina in a mirror, masturbates by rubbing up against a teddy bear and orchestrates her first sexual encounter. Anila shuns the self-sacrificing, asexual roles mothers are relegated to. She envies her daughter’s figure and boyfriend and pursues her desires with fervor. But even though GIRLS is a close observation of gender roles, sexuality, and patriarchy, it makes no thesis statement. The women in this film are not essentialized by their identities as Indian women, nor are they stand-ins for entire communities whose stories enlighten us about a social issue. I want Mira and Anila to represent only their singular selves as they experience love, disillusionment and envy. Because this is how their stories will also be universal—a luxury mostly reserved for characters from dominant cultures. LOG LINE Follows the journey of 16 year old Mira, whose sexy, rebellious coming of age is disrupted by her young mother who never got to come of age herself. ABOUT THE FILMMAKER PRODUCERS Sanjay Gulati, Richa Chadda Producer profile Producer, India Sanjay Gulati founded Crawling Angel Films in 2014 and has produced internationally recognized films such as Lajwanti (Berlinale 2014), Ashwathama (Busan 2017), Once Again (Netflix 2018), Pearl of the Desert (IDFA 2019), Nimtoh (Rotterdam 2020), The Shepherdess and Seven Songs (Berlinale 2020, New Directors / New Films). Producer, India Richa Chadha is an actor, writer, and producer known for her work in films like Anurag Kashyap's Gangs of Wasseypur (Cannes 2013) for which she won a Filmfare Critics Award for Best Actress. Chadha starred in Cannes selection in Masaan (2015), and worked with director Mira Nair in the anthology Words with Gods (Venice 2014). In 2020, Chadha started Pushing Buttons Films with Ali Fazal. Producer, France Claire Chassagne Dolce Vita Films was founded by Marc Irmer. Company credits include Hotel Harabati, (Berlinale) Unwanted Witness (Toronto, Sundance), Las Niñas Quispe (Venice), and Karlovy Vary grand prize winner Le Grand Cahier. Dolce Vita’s Indian film Sunrise by Partho Sen Gupta, screened in Busan, Sitges, and Tribeca. Their recent A Son by Mehdi Barsaoui premiered at Venice Orizzonti. PRODUCTION COMPANY PROFILE Production Company Crawling Angel Films, Delhi, India Pushing Buttons Studio, Mumbai, India Dolce Vita Films, Paris, France shuchifilm@gmail.com +1 626 484 9362 PRODUCTION BUDGET Production Budget $550,000 Secured funds $ 102,300 Pushing Buttons, Crawling Angel Films, New York State Council for the Arts LANGUAGE English, Hindi Coming of age GENRE Back To Participants PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS 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

Manas Manas Marianna Brennand Fortes Producer Carolina Benevides Lab Edition 9 , 2021 SCENE PITCH Production Country Brazil SYNOPSIS Aware that the future does not hold many options for her in a riverside community on Marajó Island, 13-year-old Marcielle decides to confront the violent machinery that governs her family and the women in her community. DIRECTOR'S NOTE Director’s Note What fascinates me in cinema is the potential to encounter the “other” and how it enables us to see, feel and live in someone else’s shoes. This is why I will have an absolute protagonist, Marcielle – we will be radically on her point of view, seeing only what she sees and hearing only what she hears. As a filmmaker, I want to increase public awareness for such a painful subject matter as sexual abuse of women, especially children and adolescents. In terms of plot, I chose a , a classic narrative with tremendous visual power. Although the abuse scenes are never shown on screen, my intention is to show in a poetic way how the violence impacts on the character perception. Marcielle experiences many conflicts and the film will be with her in her moment of conscious awareness. In the photography I want to show the contrast of the beauty and richness of the region's natural landscape with Marcielle's poor and sad reality. The lush forest with abundant water can be as arid as a desert. A very cinematic environment that hides the unspoken "rules" of its inhabitants. For that “Sisters” will be shot on location, in a riverside community in Amazon Region where this story takes place. Actors’ direction will benefit from that because I’ll be working with actors that will be able to dive into the universe of the film and non-actors that will be comfortable in their habitat. Female characters who interact with Marcielle, will help her to see that is not normal what she is been through and that is possible to put an end to the cycle of abuse. The film will be generous to its characters and their stories, in terms of the length of scenes that reflect the way in which time, and distance, in that part of the world, imprisons its inhabitants. LOG LINE Marcielle is 13 years old the eldest daughter of an impoverished family on Amazon island. She will do everything in her power to protect herself and her younger sister from the violence that surrounds them ABOUT THE FILMMAKER PRODUCER Carolina Benevides Producer, co-writer Carolina Benevides, Brazil  Carolina Benevides is the executive producer at Inquietude where she develops documentaries, features and series. Among them I Am Carlos Imperial (2015), and Darn Good (2016), (Best Film, Cine PE). Benevides was production coordinator on The Eye of the Storm (Cannes, 2009), and Passerby (Best 1st film Guadalajara, 2010). In 2020 she released the documentary series Festival’s Nights for cable TV. PRODUCTION COMPANY PROFILE Production Company Inquietude, Recife, Brazil carolina@inquietude.art.br +55 21 991940062 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 Portuguese Drama GENRE Back To Participants PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS 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 Lampshade PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS 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

Pause Pause Omer Sterenberg Producers Ayelet Kait, Amir Harel Lab Edition 12 , 2024 SCENE PITCH Production Lama Films Country Israel SYNOPSIS Itay and Alon, born and raised in the Golan Heights, have been best friends for as long as they can remember. Alon is already a year into his military service, and Itay is about to enlist and join the same unit. They go on a road trip to Eilat, to celebrate Itay's upcoming draft. Their plans take an unpredictable turn when they pick up Osher, a transgender in her late 20s who’s running away from her abusive husband. Itay falls for Osher and decides to help her despite Alon's suspicions and growing jealousy. The three find shelter in an isolated desert commune, and it seems like life can finally pause. But violence and war soon find a way in, confronting them with secrets and feelings they’ve been hiding from each other, forcing Itay to confront his identity and fears. DIRECTOR'S NOTE As war and violence rage, the expectation for sacrifice increases. As if a violent death is a pre-written destiny, young men throw themselves into the fire with a burning faith that this is the only way they can protect their loved ones. When does one stop being a child and become a soldier? Are life and death, love and war, really opposite, or two sides of the same coin? And in the midst of history unfolding with massive force, what is the meaning of innocence and compassion? LOG LINE Two best friends from the Golan Heights are heading to Eilat, to celebrate the upcoming military draft of one of them. An unpredictable hitchhiker joins them, dragging their friendship into a whirlwind of hormones, violence, gender and fear that makes them question their fate as Israeli men. ABOUT THE FILMMAKER Born in Haifa, Israel in 1992, Omer graduated from the Sam Spiegel Film and Television School with the highest honors. His short film Listening In (HaMa'azin) premiered in Berlinale and participated in dozens of international film festivals. PRODUCERS Ayelet Kait, Amir Harel Lama Films concentrates on projects with a political-social-cultural orientation. Whether fiction or documentaries, Lama Films' projects address phenomena that reflect the essence of Israeli existence, yet still appeal to diverse audiences around the world. Among Lama Films projects are: Golden Globe winner for Best International Film and Oscar nominee Paradise Now; Venice Film Festival official selection Valeria is Getting Married and Tel-Aviv on Fire; US box office hit and Berlinale films Walk on Water and Yossi & Jagger; Cannes Film Festival, Camera d’Or Winner Jellyfish and James' Journey to Jerusalem. PRODUCTION COMPANY PROFILE ○ Lama Films, Tel Aviv ○ +972-54-5679367 ○ ayelet@lamafilms.com PRODUCTION BUDGET ○ Total budget: 750,000 euro LANGUAGE Hebrew Drama GENRE Back To Participants PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS 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

Urban Legends PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS 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

Plus Size Plus Size Screenwriters: Chilik Michaeli Producer/s Chilik Michaeli , United Channels Movies (UCM) Language: Hebrew, Japanese Format: 6 Episodes x 45 Minutes Genre Comedy Send PITCHDECK LOGLINE Four women from a run-down suburb rebel against sexism and the dictatorship of thinness, by forming a women’s sumo team, rocking their conservative town and redefining love and self-worth. SYNOPSIS Bat-El Messika - the daughter of Israel’s first sumo wrestler - is under pressure. Her parents and fiancé expect her to lose enough weight to fit into a wedding dress by undergoing gastric bypass surgery. Instead of complying, Bat-El rebels: she escapes the operating table and starts an all-female sumo wrestling group for plus-size women like herself. As Bat-El attempts to build a “normal life” with her devoted partner, Haim Bachar - a loving and dependable man - her carefully balanced world is shaken by the unexpected return of Maya, the woman who once bullied her as a child. When Maya joins the sumo group, Bat-El is forced to confront her past. What begins as unresolved tension evolves into an intense emotional and sexual attraction, pushing Bat-El toward a painful choice: social security, marriage, and conformity - or desire for another woman and a journey of self-discovery. In parallel, a second romantic storyline unfolds. Bat-El’s father, Herzl, becomes the group’s coach and clings to physical strength and honor in a desperate attempt to win back his ex-wife, Zehava - Bat-El’s mother. But Zehava is now dating Aharon, Herzl’s former sumo rival turned diet guru - and Maya’s controlling father. When the group receives an opportunity to represent Israel in an amateur sumo competition in Japan - all conflicts erupt at a boiling point - only one wrestler will earn the right to travel to Japan as Israel’s sole representative. Between wedding dress fittings that end in rips, a secret affair with Maya hidden from her fiancé Haim, extreme diets that implode, and sumo matches that end in heated ties, Bat-El realizes that a safe life is suffocating her, and like in a classic romantic comedy, just before stepping into the ring for the decisive sumo tournament, she gives up the sumo competition and runs to the airport, still in her sumo underwear, to stop Maya from leaving. WRITER'S STATEMENT “Plus Size” continues the spirit of our earlier work, this time through the form of powerful, fearless, plus-size women who break into the Israeli sumo arena. This is a romantic comedy series about liberation from the conditioning of body image. Our heroine, Bat-El, who frees herself from the dictates of body image, realizes that now it is also the time to free herself from another form of restricting conditioning- marriage, weddings, and the prescriptions of the "right life". The wrestling group is composed of four plus-size women -intelligent, humorous, sexy, and groundbreaking-just as women in the past broke into sports once reserved for men, such as soccer, basketball, boxing, freestyle wrestling, pole vaulting, weightlifting, ice hockey, and more. This time, it is sumo’s turn. The artistic intention is to combine sharp, bold humor with exposed emotion, exposed skin. The dynamic between Bat-El and Maya moves between athletic rivalry and romantic attraction, and between a wounded past and a surprising present - along a tonal axis that shifts from funny, to painful, to moving. The visual design will blend traditional Japanese aesthetics - the cleanliness and precision of a Japanese restaurant, and the delicate, matchstick-like quality of forest trees - with the vibrant colors of contemporary rural city in Israel . Sumo garments, the coach’s black attire, and traditional Japanese red will merge with forest green and shifting lighting. This visual contrast will serve the tone of this romantic comedy, where heightened color, physical presence, and moments of visual exaggeration support both humor and emotional intimacy, allowing tenderness, desire, and vulnerability to emerge through movement, touch, and the charged space of the ring. ABOUT THE WRITERS Erez Tadmor is a writer and director of several feature films, including Wounded Land that won three Israeli Academy Awards in 2015, among them Best Director. He directed the films Matchmaking and Matchmaking 2 that became amongst Israel's biggest box-office hits. In 2023 he directed Children of Nobody which won at the Kolkata International Film Festival. Amongst his other films: The Art of Waiting (2019) Home Port (2016) and Soda (2024), which premiered at the Venice Film Festival. Together with Guy Nattiv, Tadmor also co-wrote and directed Magic Men (2014) and Strangers (2007), screened at Sundance. Sharon Maymon is a writer and director. He co-wrote the Academy Award (Oscar) winning short film Skin (2019). Maymon co-wrote and directed the TV series The Worst Best Thing (Keshet 12) Together with Tal Granit. In addition, he co-wrote and directed three feature films and two short films: My Happy Ending (2023) released in theaters in the U.S.; Flawless (2018) that was screened at Tribeca Film Festival; The Farewell Party (2014) that was screened at Venice and Toronto International Film Festival; Summer Vacation (2011) screened at Sundance, and To Kill a Bumblebee (2009) screened at Locarno Film Festival (2010). Sharon also co-directed A Matter of Size (2009) with Erez Tadmor - that premiered at Tribeca Film Festival. PRODUCER'S STATEMENT Plus Size is a fresh funny romantic comedy, bold, and emotionally rich new TV series currently in development. At its heart is the story of a group of women who decide to challenge the expectations placed on their bodies, their desires, and their right to define themselves. What begins as a personal journey for each of them gradually evolves into a warm, funny, and deeply human romantic comedy, anchored by an impossible three way love story that pushes them to confront who they truly are. For us as producers, this project is both a privilege and a creative joy. It offers a rare opportunity to reconnect with the remarkable talents of Sharon Maymon and Erez Tadmor, artists we know, trust, and admire. Their ability to blend humor, heart, and authentic emotion has created a world in which the story, characters, and tone come together to form something greater than the sum of all of the parts creating it. We are genuinely excited about Plus Size and confident that it will grow into a successful, engaging, and widely loved television series. PRODUCER PROFILE United Channels Movies (UCM) Founded by Chilik Michaeli and Avraham Pirchi. UCM has produced more than 40 titles, ranging from award-winning feature films to high-end television dramas. The Producers: Avraham Pirchi (President) brings a background in economics and market leadership, having served as CEO of major media marketing and distribution firms. Chilik Michaeli (Producer) is a veteran of the international circuit, with a career spanning leadership role as CEO of Israel Studios - the nation's largest production facility - and management at Warner Brothers. UCM’s body of work is a regular presence at the world’s most prestigious international film festivals, including Sundance, Berlin, Toronto, and Locarno. Notable successes include the cult hit Big Bad Wolves (declared by Quentin Tarantino as the best film of 2013), and the Locarno-selected Vanishing Soldier. Their current TV slate includes the historical drama The Stronghold and the upcoming series Double Panther. 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