Aya Ben Ron, Still Under Treatment, 2005, 5:30 min. Seven patients shift from a state of wakefulness to a state of sleep while receiving general anesthetics in a hospital, exploring the moment in which a person gives total control of his body to another.

Dana Gilerman, Scream, 2005, 1 min. The portrait of a woman at the moment of orgasm; a mute, forced scream, extracted from dozens of pornographic films, corresponding with Edvard Munch”s painting.

Rona Yefman, 2 Flags, 2005, 16:30 min. The “Stripes” and the “Hoods”, two gangs with a long history of conflict, fight one another in the urban space of an imaginary, conceptual territory.

Yael Bartana, Odds and Ends, 2005, 4:00 min. A newspaper picture of a sale in a mall in Philadelphia, 2003, captures the director”s eye. A woman is crushed to death by the mob while trying to purchase a DVD player for her son. Reconstruction of a similar situation in the shopping mall of the city of Lod, Israel.

Michal Rothschild, Zoom Zoom, 2005, 5:30 min. “I”m here,” a woman sings out of the director”s apartment in two cities, Berlin and Tel Aviv. The camera reveals the woman time and again, waving a red cloth, marking her spot from afar.

Boaz Arad, Gefilte Fish, 2005, 11 min. The director”s mother gives a lesson in preparing gefilte fish. Her voice comes out of her son”s mouth. On “gefilte fish Oedipus” and the Norman Bates (Psycho) Syndrome.

Gilad Ratman, Che-Che the Gorgeous, 2005, 8 min. A strange story about the sorrow of penetrability. Pupa-men in a primordial landscape (“They are not devoid of desire”), sound recorders (“who effectuates and who is effected?” and a singer (“his own ghost director”).

Karen Russo, Candy House, 2004, 8 min. The portrait of a conniving woman (the director). The film challenges the prevalent view of the artist as a man/woman of morals, in continuation of her film Charity.

Ariela Plotkin, Aishet Chayil, 2005, 3 min. The commodity on sale is a “woman of valor”. The woman of valor (the director), is always on high heels, always flirting, and always has something stuck in her mouth or next to it – and she loves it.

Ariella Azoulay, When Night Falls, 2005, 17 min. Through an imaginary conversation between five women, the film touches upon the physical and emotional experience of being abandoned on a sexual basis.

Elyasaf Kowner, In my Home, 2005, 11:30 min. Interior and exterior scenes from the director”s home on the outskirts of Tel Aviv. Illusive sounds and testimonies of the director himself, the rain, the front façade of a brothel, the police in action, a fire.

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