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Bad Blood Add a Title Add a Title Send Send Osnat Saraga Producers: , Or Levy Berger Bad Blood Lab Edition 4 2025 PITCH 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. 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. LOOKING FOR International Distributors, Sales Agents, Co-producers, Broadcasters, Platforms, National and/or regional fund, Private Funds / Banks 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

Terra Nullius Terra Nullius Screenwriter: Hillel Rate Producer: Einat Zilber-Damari , Great Productions Language: Hebrew, Arabic, Spanish Format: 6 Episodes x 45 Minutes Send PITCHDECK LOGLINE After losing custody of her son, Ivriya infiltrates a religious settlement to expose the men who framed her mother for deadly arson, forcing her to break the cycle of violence-or she loses him forever. SYNOPSIS On a remote mountain in Samaria, where a state-recognized settlement backed by state power, and a radical anarchist outpost, determined to dismantle that very system, are locked in uneasy proximity, Terra Nullius (Latin for “Nobody‘s Land”) unfolds as a slow-burn thriller about land, faith, and buried crimes. After her mother’s sudden death, Ivriya, daughter of a Peruvian convert from the forgotten “Inca Jews” (a unique community of indigenous Christian Peruvians from the Amazon who converted to Judaism and immigrated to Israel, yet remain eternal outsiders within the closed settler society), arrives to reclaim her mother’s land and is pulled into the mountain’s hidden war: religion vs. ideology and tradition vs. truth. Like her, Amir (30), an Arab-Israeli construction manager from Haifa, unwanted by both settlers and Palestinians, finds himself stranded between worlds. Their unlikely friendship reveals a shared terrain between erased identities, both yearning for roots, voice, and history. As Ivriya’s quest to uncover her mother’s injustice slips toward revenge, the series echoes prophet Ezekiel’s warning; “The fathers ate sour grapes, and the children’s teeth are set on edge”. Terra Nullius is a story of generational wounds, fragile identities, and the price demanded by sacred land. WRITER'S STATEMENT Terra Nullius unfolds in a raw, biblical landscape, inside a charged religious-political reality. But this is not only a political series. At its core, it is an intimate story about inheritance. About what we receive from our parents, from our land, from our faith, and what it costs to refuse it. I grew up within the religious-national world the series portrays. The language of redemption, sacrifice, and destiny shaped my childhood. I know its beauty. I also know its silence. That tension, between belonging and doubt - is the emotional engine of this series. Like the works of Mare of Easttown, True Detective, The Returned, and Unbelievable, atmosphere and inner landscapes are as central as plot. Here too, an investigation slowly becomes a crime. A buried secret mirrors the heroine’s deeper search for repair, not only of her mother’s past, but of herself. The visual language draws from filmmakers such as Tarkovsky and Malick, who treat landscape not as backdrop but as memory. On this mountain, nature is not passive; it absorbs history. The wind carries accusation. The silence holds guilt. The terrain remembers what the characters try to forget. This series emerges from a place I know from within, not as accusation, not as propaganda, but as confrontation. In Israel today, the struggle over land is inseparable from the struggle over truth, and both are passed from generation to generation like an heirloom no one dares to question. Through Ivriya, I wanted to ask a simple, painful question: If you inherit violence, are you destined to repeat it, or can you end it without burning everything down? ABOUT THE WRITER Hillel Rate is an independent Israeli filmmaker working between fiction and documentary. His work explores how private lives collide with political and moral systems, focusing on characters caught between loyalty, identity, and survival. His fiction project The Good Fence won First Prize at the Sam Spiegel International Film Lab. Rate’s films have screened internationally, including at Jerusalem IFF, DocAviv, Hot Docs, and Astra. Alongside his creative work, he collaborates with festivals worldwide as a jury and selection committee member. PRODUCER'S STATEMENT Sometimes the truth lies buried so deep that reaching it demands courage, patience, and a willingness to confront what others prefer to keep hidden. I place my trust and belief in the creator of this series and in what he has to say, as someone who speaks from a deeply personal point of view—someone who knows the land, the people, and the community from the inside, not as an outsider looking in. That intimate familiarity gives the story an authenticity that cannot be fabricated or imitated. This is not just a personal story, but a courageous act of reckoning. It challenges silence, exposes long-standing power structures, and asks difficult questions about faith, loyalty, and justice. It dares to look directly at inherited trauma and the price paid by those who are born into narratives they did not choose, yet are forced to carry. This is a story that must be heard—because it gives voice to those who were denied one, because it refuses to simplify complex realities, and because it insists on empathy even in the face of violence and loss. Above all, it is a story that offers inspiration: to women who fight to reclaim their agency, to men and women who struggle against cycles of fear and oppression, and to anyone who believes that truth, once revealed, has the power to heal, transform, and create change. PRODUCER PROFILE We produce high-quality, original drama series, maintaining a high level of professionalism. Most recently, Great Productions produced the highly acclaimed drama series Alef (Unsilenced), that aired on yes and was named one of The New York Times' Best International Shows of 2024. In addition to its numerous nominations, Unsilenced won six Israeli Academy TV Awards, including Best Drama, Best Leading Actress, Best Leading Actor, Best Supporting Actor, Best Director, and Best Screenplay. PRODUCTION CONTACT DETAILS einat@great.productions 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

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Shtukit Shtukit Screenwriter: Merav Haddad Producer: Liat Revaya , Tedy Productions Language: Hebrew Format: 8 Episodes x 35 Minutes Send PITCHDECK LOGLINE Only two things stand between Bat-Or and her new life: God, and her father. One of them has to die and it won't be God. SYNOPSIS According to Jewish law, a "Shtukit" is a woman who doesn't know her father's identity and is suspected of being illegitimate, therefore forbidden to marry. Bat-Or is thirty, newly religious, and she keeps getting set up with men who aren't even close to her level. In the religious world, family background matters and hers is a disaster. Her mother's a former inmate with a weakness for weed and losers, living in a border town Bat-Or left behind. The man she thought was her father walked out when she was a kid. Even her aunt, a respectable nurse and the woman who actually raised her, doesn't help her case. Neither does her job teaching inmates. When she gets the chance to sell her grandmother's house and take all the money, suddenly, her stock goes up. In matchmaking, money talks louder than problematic family. For the first time, the matchmaker sets her up with Avihai, from a wealthy, respectable family, devout and kind. They meet, and it clicks instantly. In their world, to avoid living in sin, they need to marry within months. There's just one problem: Bat-Or doesn't know "Dad" wasn't her real father. And the secret is about to come out. WRITER'S STATEMENT I grew up in a border town in northern Israel, the youngest of seven in a complex family. I served five years as a detective before moving into documentary filmmaking. Today, I work as a documentary researcher and director at Keshet 12 and teach civics and motivation to lifers. The prison, the border town, the characters in Shtukit, these are places and people I know. Bat-Or, like me, wants a new life and a new family, but the past doesn't let go. Shtukit is an edgy dark comedy filled with human warmth. The humor and crime emerge naturally from who these characters are: ex-cons, hustlers, religious seekers living messy, complicated lives. The language is raw, the stakes are real. Visually, the series is realistic, unglamorous, unforgiving. War-worn exhaustion, prison grit, grandma's house with peeling paint. A border town, a prison, an old house, settings that create a stark contrast between what the characters dream of and the gritty reality they're trapped in. At its core, Shtukit is about the search for home: physical, emotional, stable. About what people are willing to do for a fresh start, even when the past refuses to stay buried. ABOUT THE WRITER Meirav Hadas Hadad was born and raised in a small town on the Lebanese border, in a family of addicts. She teaches in a prison and works in the documentary department at Keshet 12, Israel's leading broadcast network. In 2019, she wrote and directed The Curse of Victor, a documentary that aired on cable. Shtukit is drawn from the real people and events that shaped her life. PRODUCER'S STATEMENT From the first moment we first read Shtukit, we immediately recognized a truly exceptional project—one unlike anything we had seen before. We all fell in love with the story, the writing, and with Meirav herself. For a long while now, we have been accompanying Meirav through the development and writing of her unique story. As we progress, we realize just how important this narrative is. It is a rare opportunity to bring a distinct female story to the forefront, balanced with a healthy dose of self-deprecating humor. At Tedy Productions, a company led by a team of strong proffesional women, we feel that creating with strong women carries a potent power that isn’t always heard. In Shtukit, we clearly identified the powerful female voice that Meirav brings—a voice we haven’t encountered in other projects. We believe in her unique perspective and are convinced that this is a powerful story that simply must reach the screen. PRODUCER PROFILE Tedy Productions was founded in 1973 and has been producing television for over 30 years. Tedy continues to expand its ties with the global television industry, with its formats acquired and produced by various networks and channels worldwide, including in the U.S., U.K., Argentina, Korea, China, Germany, Brazil, France, and many others. Tedy has produced drama series that have been sold for international remakes, most notably Euphoria, which was sold to HBO. The drama series Bad Boy, which swept all major Israeli Academy Awards for Best Drama, including Best Series, Directing, Screenplay, Cinematography, and more, was acquired by Netflix Global and premiered in May 2025. In addition to Euphoria and Bad Boy, Tedy also produced The Gordin Cell (MICE), which landed local remakes in South Korea and the United States. Tedy Productions creates series for all major broadcasters in Israel. To date, the company has produced over 30 series across all channels, genres, and audiences. PRODUCTION CONTACT DETAILS liatr.work@gmail.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

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Holy Socks Add a Title Add a Title Send Send Hagai Arad, Aharon Peer, Elad Peleg Producers: Ron Ninio , Feigi Kozlovski Holy Socks Lab Edition 4 2025 PITCH LOGLINE A Hasidic woman, carrying a dark secret, and a stubborn secular kibbutznik, form an unlikely partnership to create the perfect pantyhose, unraveling the threads holding their worlds together. SYNOPSIS Holy Socks follows Shprintze (30), a Hasidic woman from Jerusalem, and Edna (65), a secular Kibbutznik from northern Israel -- two women from communities where collective principles outweigh individual needs, yet worlds apart in religion and culture. Shprintze carries an unresolved childhood trauma -- sexual abuse silenced by her community -- buried beneath an obsession with the runs in her pantyhose. When a disastrous job interview ends with yet another ruined pair of premium stockings, she travels to the kibbutz that manufactured them, where she meets Edna, a stubborn retiree who once managed the kibbutz hosiery factory. Despite their explosive first encounter, a bond forms. To her husband Shimshon's horror, they embark on a joint mission to create the perfect pantyhose that will never tear. Against a backdrop of barking dogs and flying falafel balls, they navigate family opposition and institutional obstacles. As their startup advances, Shprintze's buried trauma resurfaces. She reveals her secret to Edna, deepening their bond into a soul friendship. Together they produce a prototype, file a patent, and secure funding. But when they travel to Sri Lanka for manufacturing, money runs out and their conflicting natures ignite battles over control. Edna abandons the project in fury. Shimshon seizes the opportunity to distance Shprintze from Edna, arranging new funding. Shprintze launches the Golden Pantyhose alone to meteoric success -- until she discovers the truth behind the money. The revelation detonates her marriage in ways neither expected. Until Edna knocks on Shprintze's door. Because the triple-threaded pantyhose will never be torn apart. Told in a dark comedic Jerusalemite tone with pure sarcasm, the series has no reasonable logic -- but it has a vision to fix the world. And that's what matters. WRITER'S STATEMENT There is a well-known conflict between the world of religion and science: how many years has the world existed? On the other hand, there is broad consensus that since the dawn of time, this planet has been ruled by men who shape the world to their liking. If you survey the map of figures ruling the political and economic world, you can make a sweeping statement: if you are a man, white and rich, you can be infantile, talk nonsense at the level of a three-year-old, and still be seen as a genius. I am an ultra-Orthodox creator, COVID-fired, ambitious and strange, who went to study screenwriting at a relatively late age. I don't think in political correctness -- I filter my thoughts through a filter as thick as 70-denier pantyhose. Why? Because I am a woman, and I know that a woman is expected to be nice and keep quiet. A Haredi woman is expected to be holy and modest. I have felt since childhood that the expectation is for me to accept having no representation in the public sphere. I walk on eggshells so my children will have schools and matchmaking proposals -- and above all, not to annoy the zealots near my husband's business in Haredi Geula. To voice my opinion, which refuses to remain as voices in my head, I wrote the story of Shprintze and her imaginary friends. I am skeptical, but she is more obsessive than me and endlessly convinces me that one day she will fix the world. Intact stockings are a product we all need, much like a story with dark Jewish humor. I believe in this story and its ability to touch the delicate heartstrings of all of us -- and truly change worlds. PRODUCER'S STATEMENT At Daroma Productions, we have built our reputation on giving voice to unheard stories and bringing Israel's peripheral communities to the center of the screen. Holy Socks represents exactly the kind of bold, original storytelling that has defined our mission since 2010. This project draws on themes we have explored across our filmography of over 40 films -- the tension between individual desire and collective pressure, the collision of different Israeli worlds, and the power of dark humor to illuminate serious social issues. From A Whore Like Me (Ophir Award winner) which tackled human trafficking, to This City (Warsaw IFF, Chelsea Film Festival triple winner) which reimagined Israeli urban culture through hip-hop noir, we have consistently proven that challenging content can find both critical acclaim and wide audiences. Holy Socks has the potential to be a breakout international series. The satirical comedy wrapped around a trauma narrative speaks a universal language -- the struggle for self-expression against oppressive systems exists in every culture. The unique Israeli setting, combining ultra-Orthodox Jerusalem with Kibbutz life, offers international audiences a fresh, visually rich world they have not seen before. We envision the series as an 8-episode series, each 30 minutes, perfectly suited for premium platform distribution. The dark comedy tone places it alongside internationally successful shows that balance humor with social commentary. With our extensive experience in international co-productions -- currently developing projects with partners in India, France, Germany, and the USA -- we are well positioned to bring Holy Socks to a global audience while maintaining the authentic Israeli voice that makes it special. We are seeking co-production partners, broadcasters, and platforms who share our passion for distinctive, character-driven storytelling that challenges conventions while entertaining audiences worldwide. LOOKING FOR International Distributors, Sales Agents, Co-producers, Broadcasters, Platforms 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

Holy Socks Holy Socks Screenwriters: Hagai Arad, Aharon Peer, Elad Peleg Producer/s Hagai Arad, Aharon Peer, Elad Peleg , Daroma Productions Language: Hebrew, Yiddish Format: 8 Episodes x 30 Minutes Genre Drama, Comedy Send PITCHDECK LOGLINE A Hasidic woman, carrying a dark secret, and a stubborn secular kibbutznik, form an unlikely partnership to create the perfect pantyhose, unraveling the threads holding their worlds together. SYNOPSIS Holy Socks follows Shprintze (30), a Hasidic woman from Jerusalem, and Edna (65), a secular Kibbutznik from northern Israel -- two women from communities where collective principles outweigh individual needs, yet worlds apart in religion and culture. Shprintze carries an unresolved childhood trauma -- sexual abuse silenced by her community -- buried beneath an obsession with the runs in her pantyhose. When a disastrous job interview ends with yet another ruined pair of premium stockings, she travels to the kibbutz that manufactured them, where she meets Edna, a stubborn retiree who once managed the kibbutz hosiery factory. Despite their explosive first encounter, a bond forms. To her husband Shimshon's horror, they embark on a joint mission to create the perfect pantyhose that will never tear. Against a backdrop of barking dogs and flying falafel balls, they navigate family opposition and institutional obstacles. As their startup advances, Shprintze's buried trauma resurfaces. She reveals her secret to Edna, deepening their bond into a soul friendship. Together they produce a prototype, file a patent, and secure funding. But when they travel to Sri Lanka for manufacturing, money runs out and their conflicting natures ignite battles over control. Edna abandons the project in fury. Shimshon seizes the opportunity to distance Shprintze from Edna, arranging new funding. Shprintze launches the Golden Pantyhose alone to meteoric success -- until she discovers the truth behind the money. The revelation detonates her marriage in ways neither expected. Until Edna knocks on Shprintze's door. Because the triple-threaded pantyhose will never be torn apart. Told in a dark comedic Jerusalemite tone with pure sarcasm, the series has no reasonable logic -- but it has a vision to fix the world. And that's what matters. WRITER'S STATEMENT There is a well-known conflict between the world of religion and science: how many years has the world existed? On the other hand, there is broad consensus that since the dawn of time, this planet has been ruled by men who shape the world to their liking. If you survey the map of figures ruling the political and economic world, you can make a sweeping statement: if you are a man, white and rich, you can be infantile, talk nonsense at the level of a three-year-old, and still be seen as a genius. I am an ultra-Orthodox creator, COVID-fired, ambitious and strange, who went to study screenwriting at a relatively late age. I don't think in political correctness -- I filter my thoughts through a filter as thick as 70-denier pantyhose. Why? Because I am a woman, and I know that a woman is expected to be nice and keep quiet. A Haredi woman is expected to be holy and modest. I have felt since childhood that the expectation is for me to accept having no representation in the public sphere. I walk on eggshells so my children will have schools and matchmaking proposals -- and above all, not to annoy the zealots near my husband's business in Haredi Geula. To voice my opinion, which refuses to remain as voices in my head, I wrote the story of Shprintze and her imaginary friends. I am skeptical, but she is more obsessive than me and endlessly convinces me that one day she will fix the world. Intact stockings are a product we all need, much like a story with dark Jewish humor. I believe in this story and its ability to touch the delicate heartstrings of all of us -- and truly change worlds. ABOUT THE WRITERS Faigy Kozlovsky is an ultra-Orthodox screenwriter and graduate of the Ma'aleh School of Film in Jerusalem. In 2024, she directed her first short film, Tamar, as part of the "A Kitser" incubator for ultra-Orthodox women creators. The film screened at the Jerusalem Women's Film Festival and subsequently at the UK Jewish Film Festival. Additionally, the film is shown at ultra-Orthodox women's screening events that Faigy produces independently. Currently, Faigy serves as a Script Reader for one of Israel's film funds, while dedicating her time to developing and writing various film projects that have gained recognition from multiple Israeli funds—most notably the series Holy Socks, which she first conceived during her studies. Alongside the series development, Faigy is writing a personal book and delivers lectures and workshops on meaning and self-motivation. Faigy is the sixth of ten children, married, mother of four sons, and a grandmother. Ron Ninio is an award-winning Israeli director and showrunner. He co-created and directed Your Honor (2 seasons), winner of the Grand Prix at Series Mania and the world's most successful scripted format since 2020, remade in over 12 countries including the U.S. (Showtime), Germany, France, India, and South Korea. Other series include Arab Labour (Best Drama, Haifa and Jerusalem Film Festivals), A Touch Away (Israeli Academy Award, Best Drama Series and Best Director), and Catching the Sky (Ophir Award winner). His latest feature Farewell Column premiered at Warsaw Film Festival 2024. PRODUCER'S STATEMENT At Daroma Productions, we have built our reputation on giving voice to unheard stories and bringing Israel's peripheral communities to the center of the screen. Holy Socks represents exactly the kind of bold, original storytelling that has defined our mission since 2010. This project draws on themes we have explored across our filmography of over 40 films -- the tension between individual desire and collective pressure, the collision of different Israeli worlds, and the power of dark humor to illuminate serious social issues. From A Whore Like Me (Ophir Award winner) which tackled human trafficking, to This City (Warsaw IFF, Chelsea Film Festival triple winner) which reimagined Israeli urban culture through hip-hop noir, we have consistently proven that challenging content can find both critical acclaim and wide audiences. Holy Socks has the potential to be a breakout international series. The satirical comedy wrapped around a trauma narrative speaks a universal language -- the struggle for self-expression against oppressive systems exists in every culture. The unique Israeli setting, combining ultra-Orthodox Jerusalem with Kibbutz life, offers international audiences a fresh, visually rich world they have not seen before. We envision the series as an 8-episode series, each 30 minutes, perfectly suited for premium platform distribution. The dark comedy tone places it alongside internationally successful shows that balance humor with social commentary. With our extensive experience in international co-productions -- currently developing projects with partners in India, France, Germany, and the USA -- we are well positioned to bring Holy Socks to a global audience while maintaining the authentic Israeli voice that makes it special. We are seeking co-production partners, broadcasters, and platforms who share our passion for distinctive, character-driven storytelling that challenges conventions while entertaining audiences worldwide. PRODUCER PROFILE Founded in 2010, Daroma Productions is an award-winning Israeli company with over 40 productions -- features, documentaries, and series -- premiering at Berlinale, Busan, Tallinn, Warsaw, and DOC NYC, earning multiple Ophir Awards (Israel's Oscar equivalent). Daroma's series work includes Don't Care to Share (2021), an 8-episode web series that won Best Web Series at NYFA, Paris Play, and Black Swan festivals, with a nomination at the Indie Series Awards in Los Angeles. The company is developing a strong series slate: Holy Socks, a satirical dark comedy; Roots in Sand, a 6-part Bedouin crime drama; and Spies R Us, an international action-comedy. With co-production experience spanning India, France, Germany, and Portugal, Daroma is positioned to bring distinctive Israeli stories to global audiences through series partnerships. PRODUCTION CONTACT DETAILS va.elad@gmail.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

Terra Nullius Add a Title Add a Title Send Send Einat Zilber-Damari Producers: , Hillel Rate Terra Nullius Lab Edition 4 2025 PITCH LOGLINE After losing custody of her son, Ivriya infiltrates a religious settlement to expose the men who framed her mother for deadly arson, forcing her to break the cycle of violence-or she loses him forever. SYNOPSIS On a remote mountain in Samaria, where a state-recognized settlement backed by state power, and a radical anarchist outpost, determined to dismantle that very system, are locked in uneasy proximity, Terra Nullius (Latin for “Nobody‘s Land”) unfolds as a slow-burn thriller about land, faith, and buried crimes. After her mother’s sudden death, Ivriya, daughter of a Peruvian convert from the forgotten “Inca Jews” (a unique community of indigenous Christian Peruvians from the Amazon who converted to Judaism and immigrated to Israel, yet remain eternal outsiders within the closed settler society), arrives to reclaim her mother’s land and is pulled into the mountain’s hidden war: religion vs. ideology and tradition vs. truth. Like her, Amir (30), an Arab-Israeli construction manager from Haifa, unwanted by both settlers and Palestinians, finds himself stranded between worlds. Their unlikely friendship reveals a shared terrain between erased identities, both yearning for roots, voice, and history. As Ivriya’s quest to uncover her mother’s injustice slips toward revenge, the series echoes prophet Ezekiel’s warning; “The fathers ate sour grapes, and the children’s teeth are set on edge”. Terra Nullius is a story of generational wounds, fragile identities, and the price demanded by sacred land. WRITER'S STATEMENT Terra Nullius unfolds in a raw, biblical landscape, inside a charged religious-political reality. But this is not only a political series. At its core, it is an intimate story about inheritance. About what we receive from our parents, from our land, from our faith, and what it costs to refuse it. I grew up within the religious-national world the series portrays. The language of redemption, sacrifice, and destiny shaped my childhood. I know its beauty. I also know its silence. That tension, between belonging and doubt - is the emotional engine of this series. Like the works of Mare of Easttown, True Detective, The Returned, and Unbelievable, atmosphere and inner landscapes are as central as plot. Here too, an investigation slowly becomes a crime. A buried secret mirrors the heroine’s deeper search for repair, not only of her mother’s past, but of herself. The visual language draws from filmmakers such as Tarkovsky and Malick, who treat landscape not as backdrop but as memory. On this mountain, nature is not passive; it absorbs history. The wind carries accusation. The silence holds guilt. The terrain remembers what the characters try to forget. This series emerges from a place I know from within, not as accusation, not as propaganda, but as confrontation. In Israel today, the struggle over land is inseparable from the struggle over truth, and both are passed from generation to generation like an heirloom no one dares to question. Through Ivriya, I wanted to ask a simple, painful question: If you inherit violence, are you destined to repeat it, or can you end it without burning everything down? PRODUCER'S STATEMENT Sometimes the truth lies buried so deep that reaching it demands courage, patience, and a willingness to confront what others prefer to keep hidden. I place my trust and belief in the creator of this series and in what he has to say, as someone who speaks from a deeply personal point of view—someone who knows the land, the people, and the community from the inside, not as an outsider looking in. That intimate familiarity gives the story an authenticity that cannot be fabricated or imitated. This is not just a personal story, but a courageous act of reckoning. It challenges silence, exposes long-standing power structures, and asks difficult questions about faith, loyalty, and justice. It dares to look directly at inherited trauma and the price paid by those who are born into narratives they did not choose, yet are forced to carry. This is a story that must be heard—because it gives voice to those who were denied one, because it refuses to simplify complex realities, and because it insists on empathy even in the face of violence and loss. Above all, it is a story that offers inspiration: to women who fight to reclaim their agency, to men and women who struggle against cycles of fear and oppression, and to anyone who believes that truth, once revealed, has the power to heal, transform, and create change. LOOKING FOR International Distributors, Sales Agents, Co-producers, Broadcasters, Platforms, National and/or regional fund, Private Funds / Banks 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

Terra Nullius Terra Nullius Screenwriter: Einat Zilber-Damari Producer/s Einat Zilber-Damari , Great Productions Language: Hebrew, Arabic, Spanish Format: 6 Episodes x 45 Minutes Genre Drama, Thriller Send PITCHDECK LOGLINE After losing custody of her son, Ivriya infiltrates a religious settlement to expose the men who framed her mother for deadly arson, forcing her to break the cycle of violence-or she loses him forever. SYNOPSIS On a remote mountain in Samaria, where a state-recognized settlement backed by state power, and a radical anarchist outpost, determined to dismantle that very system, are locked in uneasy proximity, Terra Nullius (Latin for “Nobody‘s Land”) unfolds as a slow-burn thriller about land, faith, and buried crimes. After her mother’s sudden death, Ivriya, daughter of a Peruvian convert from the forgotten “Inca Jews” (a unique community of indigenous Christian Peruvians from the Amazon who converted to Judaism and immigrated to Israel, yet remain eternal outsiders within the closed settler society), arrives to reclaim her mother’s land and is pulled into the mountain’s hidden war: religion vs. ideology and tradition vs. truth. Like her, Amir (30), an Arab-Israeli construction manager from Haifa, unwanted by both settlers and Palestinians, finds himself stranded between worlds. Their unlikely friendship reveals a shared terrain between erased identities, both yearning for roots, voice, and history. As Ivriya’s quest to uncover her mother’s injustice slips toward revenge, the series echoes prophet Ezekiel’s warning; “The fathers ate sour grapes, and the children’s teeth are set on edge”. Terra Nullius is a story of generational wounds, fragile identities, and the price demanded by sacred land. WRITER'S STATEMENT Terra Nullius unfolds in a raw, biblical landscape, inside a charged religious-political reality. But this is not only a political series. At its core, it is an intimate story about inheritance. About what we receive from our parents, from our land, from our faith, and what it costs to refuse it. I grew up within the religious-national world the series portrays. The language of redemption, sacrifice, and destiny shaped my childhood. I know its beauty. I also know its silence. That tension, between belonging and doubt - is the emotional engine of this series. Like the works of Mare of Easttown, True Detective, The Returned, and Unbelievable, atmosphere and inner landscapes are as central as plot. Here too, an investigation slowly becomes a crime. A buried secret mirrors the heroine’s deeper search for repair, not only of her mother’s past, but of herself. The visual language draws from filmmakers such as Tarkovsky and Malick, who treat landscape not as backdrop but as memory. On this mountain, nature is not passive; it absorbs history. The wind carries accusation. The silence holds guilt. The terrain remembers what the characters try to forget. This series emerges from a place I know from within, not as accusation, not as propaganda, but as confrontation. In Israel today, the struggle over land is inseparable from the struggle over truth, and both are passed from generation to generation like an heirloom no one dares to question. Through Ivriya, I wanted to ask a simple, painful question: If you inherit violence, are you destined to repeat it, or can you end it without burning everything down? ABOUT THE WRITER Hillel Rate is an independent Israeli filmmaker working between fiction and documentary. His work explores how private lives collide with political and moral systems, focusing on characters caught between loyalty, identity, and survival. His fiction project The Good Fence won First Prize at the Sam Spiegel International Film Lab. Rate’s films have screened internationally, including at Jerusalem IFF, DocAviv, Hot Docs, and Astra. Alongside his creative work, he collaborates with festivals worldwide as a jury and selection committee member. PRODUCER'S STATEMENT Sometimes the truth lies buried so deep that reaching it demands courage, patience, and a willingness to confront what others prefer to keep hidden. I place my trust and belief in the creator of this series and in what he has to say, as someone who speaks from a deeply personal point of view—someone who knows the land, the people, and the community from the inside, not as an outsider looking in. That intimate familiarity gives the story an authenticity that cannot be fabricated or imitated. This is not just a personal story, but a courageous act of reckoning. It challenges silence, exposes long-standing power structures, and asks difficult questions about faith, loyalty, and justice. It dares to look directly at inherited trauma and the price paid by those who are born into narratives they did not choose, yet are forced to carry. This is a story that must be heard—because it gives voice to those who were denied one, because it refuses to simplify complex realities, and because it insists on empathy even in the face of violence and loss. Above all, it is a story that offers inspiration: to women who fight to reclaim their agency, to men and women who struggle against cycles of fear and oppression, and to anyone who believes that truth, once revealed, has the power to heal, transform, and create change. PRODUCER PROFILE We produce high-quality, original drama series, maintaining a high level of professionalism. Most recently, Great Productions produced the highly acclaimed drama series Alef (Unsilenced), that aired on yes and was named one of The New York Times' Best International Shows of 2024. In addition to its numerous nominations, Unsilenced won six Israeli Academy TV Awards, including Best Drama, Best Leading Actress, Best Leading Actor, Best Supporting Actor, Best Director, and Best Screenplay. PRODUCTION CONTACT DETAILS einat@great.productions 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