The Band's Visit

  • November 7, 2018 / 19:00
  • November 18, 2018 / 17:00

Director: Eran Kolirin
Cast: Ronit Elkabetz, Sasson Gabai, Saleh Bakri, Khalifa Natour
Israel, France, 2007, 83',  color
Hebrew, Arabic, English with Turkish subtitles

Once, not long ago, a small Egyptian Police band arrived in Israel. They came to play at an initiation ceremony but, due to bureaucracy, bad luck, or for whatever reason, they were left stranded at the airport. They tried to manage on their own, only to find themselves in a desolate, almost forgotten, small Israeli town, somewhere in the heart of the desert. A lost band in a lost town. Not many people remember this. It wasn’t that important.

Free admissions. Drop in, no reservations.

Sh’Chur

Sh’Chur

Late Marriage

Late Marriage

Or (My Treasure)

Or (My Treasure)

To Take a Wife

To Take a Wife

The Band's Visit

The Band's Visit

7 Days

7 Days

Jaffa

Jaffa

The Flood

The Flood

Gett: The Trial of Viviane Amsalem

Gett: The Trial of Viviane Amsalem

Trailer

The Band's Visit

Paris Without End (1959-1965)

Paris Without End (1959-1965)

In the 60s, Alberto Giacometti paid homage to Paris, the city where he lived, by drawing its streets, cafés, and more private places like his studio and the apartment of his wife, Annette. These drawings would make up his last book, Paris sans fin (Paris Without End). 

Janine Antoni Look At Me!

Janine Antoni Look At Me!

The exhibition Look at Me! Portraits and Other Fictions from the ”la Caixa” Contemporary Art Collection examines portraiture, one of the oldest artistic genres, through a significant number of works of our times. Through the exhibition we will be sharing about the artists and sections in Look At Me!. This time we are sharing about Janine Antoni , exhibited under the section “The Conventions of Identitiy”!

The First Nudes

The First Nudes

Men were the first nudes in Turkish painting. The majority of these paintings were academic studies executed in oil paint; they were part of the education of artists that had finally attained the opportunity to work from the live model. The gender of the models constituted an obstacle in the way of characterizing these paintings as ‘nudes’.