Jerusalem Day Flag Parade on Eve of Ramadan
Here’s what June 5, 2016 stands to look like: The start of Ramadan in the Muslim Quarter, with tens of thousands of Muslim worshippers filling the streets on their way to al-Aqsa Mosque. And the Jerusalem Day nationalist Flag Parade, with thousands of Jewish nationalist marchers celebrating the 1967 “reunification of Jerusalem” planning to pass through the very same streets.
Can you imagine these two events coinciding?
Damage Caused to Sub Laban Family Home
Members of the Sub Laban family, which lives in the Muslim Quarter, discovered that holes had been made in the wall of their home after a settler family moved in next door. The Sub Laban family is taking legal action to combat proceedings designed to revoke its status as a protected tenant and force it out of its home. Ahmad Sub Laban, a family member, serves as a researcher for Ir Amim.
Scenes from the Gates Tour in the Muslim Quarter
A heavily guarded tour of the Muslim Quarter by teenagers singing "Let the mosque be burned" and "May I be this once avenged for my two eyes," and statements by Minister Uri Ariel.
Footage courtesy of Ta'ayush
The Largest Mammals in Jerusalem

A nature movie that examines the lives of the largest mammals in Jerusalem: the bulldozers. The film provides information important to nature and bulldozer lovers, and answers questions such as: On what do bulldozers feed? How do they hunt their prey? What are their habitats, migration patterns, courting habits, etc., The film integrates unique unpublished archival material filmed by bulldozer researchers.

Children’s Story

This film depicts the journey of three young Palestinian brothers who travel everyday from their home in the outskirts of Jerusalem to the Jewish neighborhoods where they sell chewing gum at busy intersections in order to support their family. The children assume the role of the adults in their family, who find it difficult to make a living following the construction of the separation wall.

Daniel Gal

Bus Station

Two religious women, Ruba and Miriam, have each finished their shopping at the market. They sit at the same bus stop and wait. A random encounter between the two, who, at a glance, could not be more similar, becomes an impossible dialogue taking place in a city as complex as Jerusalem.

Lily Sheffy

Light and Fire

Archaeology of Ownership

The film examines the way that ownership of archeological history in Jerusalem acquires validity in the present through ownership of the land. The movie presents the way in which holding on to the past in Jerusalem affects the future of the city and its residents.

The Third Temple

The process of building and locating a model of the Third Temple in Jerusalem raises questions regarding the ethos of construction and demolition; and examines the attitude toward the representation of "holiness" in the Israeli-Jewish culture as reflected in the complex reality of Jerusalem/ Al Quds.

Yoram Ron

Two Houses and a Longing

Happy Families

Jerusalem SOS

Fadi is a Palestinian resident of East Jerusalem, while Hezi is a Haredi Jew who resides in Mea Shearim. Both Fadi and Hezi are volunteers in “United Hatzalah” – a Haredi Jewish organization that provides emergency medical services. Fadi and Hezi traverse Jerusalem, between East and West, providing first aid at all hours to the city’s residents, yet the two never meet one another.

Keren Ghitis

Uncle Shlomo’s Jerusalem

Every morning Shlomo Wallach gets on his motorbike and goes back in time to a Jerusalem of the past, a Jerusalem of which he was never a part. The film accompanies Shlomo in his resolve to live in the past, and his attempts to revive the grand memories of his Jerusalemite family, led by a religious Jew, the founder of Shaare Tsedek Hospital, the well-known Dr. Moshe Wallach.

Yochay Rosenberg


In the context of borders, the film presents the Jerusalem neighborhood of Gilo, where the director was born and raised. The four points of the compass represent various borders – physical, but mainly mental – that help define the concept of identity. The past is not represented at all. The film reveals the director's memories on the background of the locations as they appear today. In this way, the concept of memory turns the look back into something inaccessible and unrepresentable. Eran Sahar

You Don’t Live Here Anymore
You Don’t Live Here Anymore
You Don’t Live Here Anymore