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This is Personal provokes the questions: how are women differently impacted by race, religion, sexual and gender identity and how did this play out in the Women's March following the 2016 election? How do people work together when they disagree? Join the conversation as a diverse panel of Jewish Women of Color lead the post-film conversation
Misha and the Wolves is the dramatic tale of a woman whose Holocaust memoir took the world by storm, but a fallout with her publisher – who turned detective – revealed an audacious deception created to hide a darker truth.
Legendary Polish filmmaker and recipient of SFJFF's Freedom of Expresson Award, Agnieszka Holland's newest film is a richly drawn biopic of Czech healer Jan Mikolášek who rose to fame through his uncanny ability to diagnose disease with a mere glance at the patient's urine.
The Jewish National Fund's ubiquitous Blue Boxes were an internationally successful fundraising campaign to support the purchase and forestation of land in Israel. This thought-provoking documentary focuses on Joseph Weits, a seminal figure in the growth of the organization, its tree-planting programs and the subsequent myth-building of a national narrative.
Documentarian Nick Broomfield has never made a movie more distinctly personal than this complex and moving film about his relationship with his humanist-pacifist father, Maurice Broomfield, a factory worker turned photographer.
Struggling with life post-retirement, 68-year-old Meir fights to restore his shaken sense of self. Director Oren Gerner blurs the lines between documentary and fiction, casting his own father as a man struggling against irrelevance and decline. Preceded by the short film, Long Distance.
Shortly after the death of his unique uncles, Didier Frenkel descends to the basement of their shared home and finds a treasure: an ancient animated archive from Egypt starring Mish-Mish Effendi, the Arabic equivalent of Mickey Mouse. His uncles have kept this surprising chapter in their lives under cover. Didier begins restoring the films and unveils the story of the rise and fall of these pioneers of Arab animation. Surprisingly, Didier’s mother strongly opposes the project.
As Nazis separate children from their parents in the Warsaw Ghetto, a gang of women risks everything to smuggle their friend's three-month-old baby to safety.
Imagine that the city where you were born is suddenly split in two, with a better half and a worse half. And you’re enclosed in the latter, by a wall 3 metres high, with broken glass and rolls of barbed wire along the top. If you cross it, they’ll kill you. If you stay, you’ll slowly die of starvation anyway. That is precisely what happened in Eastern Europe, in Poland’s capital city of Warsaw in the 1940s. “Why does nobody ask me if there was love in the ghetto? Why is nobody interested?” asked Marek Edelman, resistance fighter and the last leader of the Warsaw Ghetto Uprising, shortly before his death in 2009. In this film, he answers that very question, telling us that good and beauty did exist in the hell of the ghetto. And there was love, too. That was of the greatest value – even greater than life itself. A strong, unconditional love where you are prepared to make the ultimate sacrifice and give yourself completely to another person, body and soul.