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- info: Advocate is a movie starring Hanan Ashrawi, Tareq Barghout, and Avigdor Feldman. A look at the life and work of Jewish-Israeli lawyer Lea Tsemel who has represented political prisoners for nearly 50 years
- Philippe Bellaiche
- writer: Rachel Leah Jones
- runtime: 114 M
- Genres: Documentary
- liked it: 139 Vote
An interview with the director of Advocate, the Oscar-shortlisted film about the Israeli lawyer dedicated to defending Palestinians. “ I ’m an Israeli occupier no matter what I do. I enjoy the ‘fruits’ of the occupation, both bitter and sweet. And despite my moral obligation as an Israeli, I didn’t manage to change the regime and its policies. On what moral grounds should I judge the people who resist my occupation? ” So says Jewish Israeli attorney Lea Tsemel as she explains her life’s work defending Palestinian clients—many of whom most Israelis consider to be terrorists—in the documentary film Advocate. Directed by Rachel Leah Jones and Philippe Bellaïche, both Israeli citizens, the film is one of 15 documentaries shortlisted for an Oscar nomination—quite an achievement for a film that humanizes Palestinians caught up in Israel’s criminal justice system for resisting Israeli occupation, both nonviolently and violently. The film follows Tsemel’s work on two recent court cases involving Palestinian residents of East Jerusalem who were charged with committing violent acts against Israelis, and is interwoven with archival footage of Tsemel’s past cases as well as interviews with her two children; Palestinian leader and activist Hanan Ashrawi; and her husband, Michel Warschawski. Warschawski, a well-known anti-Zionist activist, himself became one of Tsemel’s clients after being arrested in 1987 for publishing a know-your-rights booklet edited by students with ties to the Popular Front for the Liberation of Palestine. When he complained to her about the punishing interrogation tactics, he recalls in the film, she told him he wasn’t worthy of being her husband. Fearless, tough, and powerfully charismatic, Tsemel is a familiar character—what she herself has described as “a typical Israeli, Sabra, if you want”—but with a crucial twist: The 74-year-old, who is fluent in Arabic as well as Hebrew, deploys her uncompromising fierceness in the service of fighting the system. In 1999, she was part of a team of lawyers that argued—and won—a landmark case before the Israeli Supreme Court barring torture of Palestinians in interrogations. While many of her cases haven’t led to such decisive victories, including the two cases profiled in Advocate, she nonetheless keeps arguing, keeps fighting. Says Jones, the film’s director, during a recent chat with The Nation: “I was making the film to remind myself what it meant to be critical, principled, what it could look like. And Lea models that probably better than anyone else. ” Mairav Zonszein: How did you come to meet and get to know Lea Tsemel? Rachel Leah Jones: I grew up in Israel, all of my elementary school, and then we moved back to the States. I came into young adulthood during the First Intifada and became critical of Israel politically, but didn’t know how that reconciled with my Israeli inner child. I did my third year of college in Israel-Palestine in 1991 to ’92, and I met people like Michel [Lea’s husband] and Lea. They helped me re-locate myself and understand how to be both Israeli and live there and be critical. They played a formative role for me and modeled that you can love the people, love the land, and yet you don’t have to love the regime. A lot of people understand, even on the far right, that people like Lea and Michel are incredibly invested. They are reaching different conclusions, but they care, and that matters in Israeli society. They are concerned citizens. And that “caring” has informed the potent response to the film in Israel over the last year and how people deal with Lea on the job. A lot of people she deals with daily, she has nothing in common with ideologically—and they adore her. As much as she is a woman they love to hate, she is also the woman they hate to love. MZ: Why did you decide to tell this particular story, and what did you hope to achieve by telling it? RLJ: I made the film together with Philippe Bellaïche, who is my partner in life and in this project. We didn’t have the exact same motivations when we got started. As a cameraperson, he really wanted to not talk about what she does so much as look at how she does it. We understand the what but how does that actually translate in life, in practice? He didn’t have a target audience that was sociologically or political defined. I think quite early on I understood I was probably making this film for myself more than anyone else. I didn’t feel like I stood any chance of converting anybody through the film, even though that has proven to be untrue—not converting but influencing, for sure. After the 2015 [Israeli] election, when we started this project, it was the first time I wasn’t 100 percent comfortable being who I am. For me, as both an American and Israeli Jew, the most comfortable place to be critical of Israel had always been in Israel. But that shifted for me, personally. I was making the film to remind myself what it meant to be critical, principled, what it could look like. And Lea models that probably better than anyone else. MZ: In the film, Tsemel’s son talks about a time she was verbally threatened on the street. But the film doesn’t really devote any time to the personal toll this line of work takes on her. She seems undaunted. But there must be a personal emotional toll. Did you choose not to portray that or were you simply not exposed to it? RLJ: Lea deals with people who are victimized so totally and brutally that her own version of being a target of assault pales in comparison. She always insists, “I never suffered. This is what I want to be doing. I am one of the freest people I know. I don’t experience alienation. ” Lea is wired that way—to live her life in a sociopolitical maze and obstacle course. She is living her own version of some kind of survivor reality show quite happily. MZ: So how did Lea feel about the movie being done about her? RLJ: She makes changing the world look fun. She doesn’t shy from exposure, but she’s also not concerned about how she will be portrayed. She’s not here to please. She doesn’t have an ego that needs to be reinforced through credit. But she loves life and the world and all of its wackiness, and she loves to show it to other people, to take people along for the ride. And she doesn’t shy away from her faults. She watched a film that documents a trial that was a total loss. And she’s OK with that, with how she comes across. All she said after she saw the rough cut was, “But why so many wrinkles? ” I really appreciate her, with her faults. People have asked in Q&As what surprised me about her, even knowing her as well as I do. It is her “ism”—her “ism” is human- ism. It’s really simple. She doesn’t just believe in the humanity of her clients and the people she advocates for, she sees the humanity of all her adversaries too—judges, prosecutors, interrogators, who by and large don’t share her worldview at all. She believes all the people who make up the system are people. And they are human beings, and she has the capacity to reach them. Her belief in the system is her belief in people, period. By believing she can get them to see the humanity of her clients, she is also recognizing their humanity. MZ: How is the film funded? RLJ: Our first money was Israeli private money, from the HOT8 cable documentary channel. At first, we got rejected from Israeli film funds and we thought, “OK, this is the new normal, let’s not expect to see public Israeli money, for better or worse. ” Then we tried to fundraise outside the country and by the time we finished the film, we had 10 broadcasters, two co-producers, and several film funds—including Sundance and the Bertha Foundation —on board. Toward the end of filming, we applied and got production funding from the Makor Foundation for Israeli Film and a post-production grant from the Israel Lottery Council for Culture and Arts post-production grant. So, we finally did finish the film with Israeli public funding. Our position was: We are tax-paying citizens, it is within our civil rights to have access to this money. It is not our job to censor them—they would have to censor us. We must delineate the difference between government funding and public funding. We’re not part of the government, but we’re part of the public, and that funding is earmarked for the public. Lea Tsemel, who is working in a legal system that is fundamentally flawed, echoes that way of thinking better than anyone. She takes every case saying, “So long as the system exists, we need to maximize what we can get out of it. ” In many senses, Lea is more of a reformist than she is a revolutionary. MZ: How has its reception been in Palestinian society? RLJ: Incredible. There’s an incredible amount of appreciation for Lea and her work and the role she has played for Palestinians over the years as an ally. So far, it has screened in East Jerusalem in a private screening and there is a lot of interest in screening the film elsewhere in the West Bank, and plans are underway. We screened privately to all the family members and all the Palestinian legal staff and their families, and everyone was moved and pained and grateful that they had been portrayed with dignity, as the hurting people between a rock and a hard place that they are. MZ: What kind of Israeli pushback has there been? RLJ: We premiered internationally at Sundance last January. We didn’t screen in Israel until late May at the Docaviv International Documentary Film Festival. Before the festival [opened], we had three screenings [scheduled]. They all sold out, so they added a fourth. It sold out. They added a fifth after we won the festival, it too sold out. Over the course of one week, roughly 2, 000 Israeli Jews saw the film. There were standing ovations. But then a week later [Culture Minister Miri] Regev came out against it with the usual: “I haven’t seen it and won’t see it but I still know what I think about it. I’m appalled a film like this was even made let alone with public funding. ” It was demonizing, witch-hunting rhetoric, which gave a platform to right-wing vigilante groups like Im Tirtzu to protest the award and the Israel Lottery Council for Culture and Arts folded really fast. [ The council announced it was suspending the prize money for future films and would put Advocate ’s grant under legal review. ] But that gave rise to the most incredible backlash I’ve seen in the last four, five years, [with] the arts community saying enough is enough. The Israel Lottery is basically the biggest arts funder in Israel, and people went so far as to give back grants unspent, along the lines of “it’s either all of us or none of us. ” The solidarity was outstanding. It was beautiful. It felt like people were saying enough is enough. People were saying, “If this is the new normal, we will push back. ” Three months later, the grant was reinstated. There have also been some attempts to go after Lea through the Ministry of Justice, to examine the “legality” of her contract work for the Public Defender’s Office. But the chief public defender has said they have no intention of reexamining her employment. She works for her defendants, she doesn’t work for the government. [ Tsemel is a private-sector lawyer with her own firm who handles cases either privately or on contract through the Public Defender’s Office. ] MZ: To me part of the importance of this film is documenting and archiving the generation of Israelis who remember what it was like before occupation. Do you think her work is becoming more accepted in Israeli society, the notion that Jews and Palestinians need to have equal rights? RLJ: Michel, her husband, when he is describing Lea’s first case, the 1972 trial [of Jews involved in an Arab-Jewish underground], says that the message then was rather simple and today it sounds trivial. “There’s an occupation, there are Palestinians. They have rights. At the time, it sounded revolutionary; today it sounds banal. ” Well—unfortunately, it sounds revolutionary again. When we were looking for archival footage of Lea’s life and work, there’s almost nothing in the ’70s, there’s a little bit in the ’80s, there’s a ton in the ’90s. And then she disappears again. It was a really strong and painful indication of the place that Israeli society has afforded her and what she has stood for in the public sphere. And then she shows up 20 years later in this movie, which is screened on Israeli TV—and all of a sudden we’re entering our fifth month in the cinematheque. Two or three screenings a week for five months! Constantly getting invitations to screen in community centers all around the country, including the Sderot Cinematheque—so not exclusively lefty, Ashkenazi circles. Does it mean things are looking good or better? I doubt it. The jury is still out on whose version of history—meaning the future—is right. I would sum up this year by saying that the solidarity and the interest and openness has been 10 times more potent and noticeable for us than all the censorship and the rabid discourse that came with it. MZ: The last time Israeli documentaries were up for an Oscar was in 2013, when both 5 Broken Cameras and The Gatekeepers were nominated, the former an anti-occupation film. Do you see your film as an anti-occupation film? How does your film stand apart from other political Israeli films that have challenged the status quo? RLJ: I would like to think it goes beyond Israel-Palestine, in that Lea spoke truth to power before the term became trendy and will continue to do so before fear makes it unfashionable. She is a model of engaged citizenship that we’re lacking in this day and age, and a model we’d like to see replicated in Israel-Palestine but also elsewhere. The film clearly has to do with Israel-Palestine but it also has to do with being that kind of person and that kind woman in the world. And doing it decade after decade. The one thing I learned from making this film is that there is no “end. ” There is no better world we will arrive at one day. It doesn’t exist. The 21st century is a monster curveball for those of us who came into critical consciousness in the 20th century. And Lea is living proof that there is no end, but there’s means. You’ll never come close to that “better place” without getting up every morning and going through the motions and doing the work. She models that. There is nothing armchair about her. You don’t sit and wait for that better world. You go out and fight the good fight. If there’s any chance of a slightly better version of the world it’s only because you get up and go practice the means. It’s not an action plan, it’s just action.
Eldsjälen watch free youtube. Eldsjälen watch free full. I n 2015, during an escalation of violence in Jerusalem, a just-turned-teenage Palestinian boy and his older cousin were involved in a stabbing that left two young Israelis injured – critically in the case of one, a 13-year-old boy. The elder cousin, Hassan, was shot dead by police. The younger, Ahmad, was hit by a car and lay bleeding on the ground as a crowd gathered. They shouted: “Die you motherfucker” and urged police to “put a bullet in his head”. The shockingly young ages of the boys sent the story around the world. For Israeli lawyer Lea Tsemel, who defends Palestinians, it led to one of the most fraught conflicts of her decades-long career. Advocate, an award-winning documentary by Israeli film-makers Rachel Leah Jones and Philippe Bellaiche, chronicles the 75-year-old lawyer’s life and work. The film provides a compelling insight into the uneasy complexities of representing Palestinians in Israeli courts, where the occupiers effectively judge the occupied in a system that can’t escape the bloody conflict raging between the two sides. Early in the film, as the camera sweeps along the rows of battered files that crowd Tsemel’s office, we see the nature of her work spelled out in their headings: possession of a weapon, stone throwing, accessory to murder, suicide bombings. It’s a life spent losing inside courtrooms and facing attacks outside them. Watch a trailer for Advocate The film contains footage of a TV interview with Tsemel in the 1990s, in which she discusses what drives her to defend Palestinians. The presenter says to her: “It’s as if you identify with them! ” They also tally all the verbal attacks the lawyer has faced: traitor, leftist, devil’s advocate. At one point the presenter says: “I think that terrorists are no different to rapists and murderers. ” Tsemel replies that, instead of “terrorists”, other people in the world might call some Palestinians “freedom fighters”. To protect the identity of defendants, the film sometimes uses animated images projected on to legal and press archives – the background documents reminding us that this story cannot be separated from a historical and political context. In one animated sequence, Ahmad passes round a packet of sweets outside the courtroom at his father’s request. His teenage awkwardness seems familiar and at the same time completely at odds with his involvement in the conflict. Tried … 13-year-old Ahmad Manasrah in hospital following the 2015 incident featured in the film. Photograph: Handout/Getty Images Although the film is interspersed with footage spanning Tsemel’s legal career, Advocate focuses on two defendants: Ahmad, and a Palestinian woman called Israa Jaabis who injured a policeman and severely burned herself after setting fire to her car, which was loaded with gas canisters. Israeli officials deemed this a botched suicide bombing. Given the woman’s previous attempts to take her own life, Tsemel wonders at one point if the intent was “suicide by cop”. Adding to the tensions throughout this well-paced documentary is the media spotlight on both cases, Ahmad’s in particular. We see his case deployed in a battle over political narratives between Israeli and Palestinian leaderships, as well as the sometimes sensationalist interpretations ascribed by the journalists covering it. Tsemel comes out of grim hearings to give polished media interviews and explain the moral and legal ramifications. Born in 1945 to parents from Belarus and Poland, Tsemel was studying law in Jerusalem in 1967, when the six-day war concluded with Israel capturing the West Bank and the Gaza Strip, among other territories. Soon after, she saw lines of fleeing Palestinians and felt the parallels with Jewish exile and her own family’s history. As she explains in the film, she was reluctantly drawn to left-wing politics, which for her answered the questions demanded by the unfolding situation. ‘Someone has to make a film about her’ … the documentary team of Bellaiche and Jones filming Tsemel. Photograph: Home Made Docs Although she has known Tsemel for decades, it didn’t occur to Jones to make a film about her. “Often we overlook the things closest to us, ” she says of Advocate, her fourth documentary. It was co-director Bellaiche who first envisaged it. “The day he met Tsemel, he said, ‘Someone has to make a film about her. ’ I said, ‘Someone will. ’ Fifteen years later, we looked at each other and realised, ‘Well, that someone is us. ’” Advocate has bagged several awards and was shortlisted – though not nominated – for this year’s Oscars. In 2019, the film infuriated Israel’s right-wing Im Tirtzu organisation, as well as a group representing Israelis who have lost family members in terror attacks, after it won the country’s prestigious DocAviv award. Culture minister Miri Regev slammed this decision, calling Advocate’s presentation of Tsemel’s work “outrageous and deserving of condemnation”. Regev pushed to cancel screenings and said the national lottery, which funds the award, should withdraw its prize money. But Israel’s arts community pushed back, staging demonstrations, pulling out of awards and returning other prizes in protest. “The national lottery belongs to everyone, ” says Amit Goren, CEO of the Makor Foundation for Israeli films. Regev has also attacked the award-winning Israeli film Foxtrot for its depiction of Israeli soldiers and proposed a “loyalty in culture” bill for arts funding (which was later postponed). Pointing to Makor’s pluralistic mission for films across the political spectrum, Goren says: “We are in an absurd situation. A politician who is supposed to represent all of us is representing a very narrow political vision. ” Advocate has enjoyed extended runs to sell-out audiences in Israel, perhaps suggesting the film gives voice to a growing desire among liberals to reclaim some political space. “Lea touched that nerve, she made it possible. It was fantastic and I would never have foreseen that, ” says Jones, whom I have known for over a decade, having first met to discuss one of her earlier films, Ashkenaz, which explored notions of identity in Israel. ‘I’m willing to pay the price’ … Tsemel with her daughter Talila Warschawski. Photograph: Aaron Richter/Getty Images Tsemel tells me that, despite the attacks on social media, she is greeted positively on Jerusalem’s streets. “Just the other day, a young guy shouted in the market, ‘Lea, you are my Oscar! ’ People who don’t think like me, who can’t stand my ideology, tell me to carry on. ” The film’s spotlight on a fight for progressive values seems welcome at a time of populist right resurgence around the world. “What Lea represents hits home, ” says Jones. “The question is: who is ready to go against the grain, swim against the current and speak truth to power? ” Although focused on court verdicts, Advocate offers no definitive judgments, least of all on Tsemel. This tireless lawyer is portrayed as principled but demanding, sparkling but also snappish. The cost of a career so at odds with mainstream Israeli society is sensitively navigated in interviews with Tsemel’s husband, the leftist activist Michel Warschawski, and their two children, neither of whom pretends that the pride they feel today was easily reached. “It’s rare to see women like her, who do their thing unapologetically, ” says her daughter, Talila. “I’m willing to pay the price for there to be room for a woman like that to exist. ” One archival scene shows Tsemel celebrating a rare victory in an appeal to the supreme court in 1999, making it illegal for Israel’s security services to use torture during interrogations. Interviewed in the film, Avigdor Feldman, one of the team of winning lawyers, now says that the landmark ruling has been eroded. What, he is asked, is justice? “I don’t know, since I don’t believe in justice, ” he replies, explaining that because in trials involving Palestinians, “the balance of power is a priori unequal, a fair chance is never given”. Tsemel still believes in it, he adds, which is how she can keep fighting for her clients. Offering hope … Tsemel in 2019. Photograph: Film Movement/Everett Collection Inc/Alamy Shortly after Advocate’s world premiere last year, her Palestinian co-council Tareq Barghout, who features in the film, was arrested over involvement in shooting attacks in the West Bank. She represented Barghout, who was sentenced to 13 years. It is a coda to a bleak story with no winners, yet audiences have found hope in Tsemel, who calls herself an “angry optimistic woman” in the film. Success, she says, is not always defined in terms of wins and losses but rather in the spaces in between: the capacity to reduce a sentence, stop a deportation, prevent a family separation. “The important thing is not to despair of losing so often, but to try and try again, ” she says. Repeated defeat doesn’t seem to dent her resilience. “On the contrary, it gives me more ambition – this time, I’m going to do it. ” • Advocate: A Lawyer Without Borders will be shown on BBC Four on 10 February at 9pm.
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EldsjÃlen Watch free software. Eldsjälen watch free tv. EldsjÃlen Watch free online. Eldsjälen watch freeze. Eldsjälen watch free live stream. Eldsjälen watch free movies. Eldsjälen watch free movie. 8 wins & 9 nominations. See more awards » Videos Learn more More Like This Documentary | Action Crime 1 2 3 4 5 6 7 8 9 10 7. 6 / 10 X In Mexico City's wealthiest neighborhoods, the Ochoa family runs a private ambulance, competing with other for-profit EMTs for patients in need of urgent help. Director: Luke Lorentzen Stars: Fer Ochoa, Josue Ochoa, Juan Ochoa 6. 3 / 10 The history of New York City's Apollo Theater in Harlem is given the full treatment. Roger Ross Williams Cholly Atkins, Florence Ballard, Angela Bassett Short 7. 7 / 10 Documents the sinking of a South Korean Ferry. As a result of the ineptitude of the first response to the emerging situation, hundreds of people, mostly children lost their lives Sport 7. 3 / 10 Learning To Skateboard In A Warzone (If You're A Girl) is the story of young Afghan girls learning to read, write-and skateboard-in Kabul. 6. 9 / 10 A look at the people involved with various political campaigns during the 2018 U. S. congressional election. Rachel Lears Alexandria Ocasio-Cortez, Cori Bush, Joe Crowley A beautiful portrait of everyday Gazan citizens, leading meaningful lives beyond the rubble of perennial conflict. Directors: Garry Keane, Andrew McConnell The story of Tracy Edwards, a 24-year-old cook on charter boats, who became the skipper of the first ever all-female crew to enter the Whitbread Round the World Race in 1989. Alex Holmes Frank Bough, John Chittenden, Bruno Du Bois 6 / 10 Paul and Millie Cao lost their youth to the aftermath of the Vietnam War. Forty years later, they have become successful professionals in Southern California-and are rediscovering themselves on the dance floor. Laura Nix Chipaul Cao, Millie Cao, Maksym Kapitanchuk History 7. 5 / 10 After becoming a mother, a filmmaker uncovers the untold history of China's one-child policy and the generations of parents and children forever shaped by this social experiment. Nanfu Wang, Jialing Zhang Zaodi Wang, Zhimei Wang War 8. 6 / 10 FOR SAMA is both an intimate and epic journey into the female experience of war. Waad Al-Kateab, Edward Watts Hamza Al-Khateab, Sama Al-Khateab Amidst air strikes and bombings, a group of female doctors in Ghouta, Syria struggle with systemic sexism while trying to care for the injured using limited resources. Feras Fayyad Amani Ballour, Salim Namour When the Taliban puts a bounty on Hassan Fazili's head, he is forced to flee with his wife and two daughters. Capturing the journey, Fazili shows the dangers facing refugees seeking asylum and the love shared between a family on the run. Hassan Fazili Hassan Fazili, Nargis Fazili, Zahra Fazili Edit Storyline A look at the life and work of Jewish-Israeli lawyer Lea Tsemel who has represented political prisoners for nearly 50 years. Plot Summary Add Synopsis Details Release Date: 3 January 2020 (USA) See more » Box Office Cumulative Worldwide Gross: $16, 392 See more on IMDbPro » Company Credits Technical Specs See full technical specs » Did You Know? Quotes Lea Tsemel: I'm a very angry optimistic woman. See more ».
January 3, 2020 by Carla Hay Lea Tsemel in “Advocate” (Photo courtesy of Film Movement) “Advocate” Directed by Rachel Leah Jones and Phillipe Bellaïche Hebrew with subtitles Culture Representation: Taking place in Israel, this documentary has mostly Israeli Jews with a significant representation of Palestinian Muslims. Culture Clash: This entire movie is about how the longtime and ongoing conflicts between Israeli Jews and Palestinian Muslims affect the criminal-justice system in Israel. Culture Audience: “Advocate” will appeal primarily to those who like arthouse international documentaries that cover civil rights, legal issues and criminal justice from a left-wing/liberal point of view. Controversial attorney Lea Tsemel has gotten used to being called a traitor and a “devil’s advocate” in her native Israel, because her specialty is representing Palestinian Muslim minorities in Israel who are usually accused of violent acts of terrorism or hate crimes. Tsemel says her clients are frequently targeted for unfair criminal prosecutions and are given harsher sentences than non-Muslims. A self-described left-wing activist, Tsemel is Jewish (most of her family members on her mother’s side were murdered in the Holocaust), but she’s not overtly religious. Her true religion is taking up causes for people she considers misunderstood underdogs and fighting a criminal-justice system that she says is biased against them. Tsemel says she is not anti-Israel, but she will usually side with those she sees as being persecuted and deprived of their civil rights. Instead of cowering from the onslaught of hateful criticism that she gets from much of the Israeli public, she uses it has a badge of honor that she’s doing something right in shaking up a system that she wants to hold accountable for civil-rights violations. “Advocate” directors Rachel Leah Jones and Phillipe Bellaïche have made a compelling portrait of Tsemel by alternating between up-close access to her present-day life and archival footage that shows glimpses of her past. Born in 1945, Tsemel is at an age when most people have settled into retirement. However, she shows no signs of slowing down. Her reputation of being a tough defense lawyer is one she’s had since she began practicing law in the 1970s, but her iconoclastic activism started long before she became an attorney. In the movie, she recalls her days as a volunteer soldier in 1967, and she claims she was one of the first Israeli women to visit the Wailing Wall. She had interactions with Arabs from an early age, since she grew up in an Arab-owned house in her hometown of Haifa, Israel. As a student at Hebrew University of Jerusalem, she frequently participated in activism rallies and protests organized by the radical Israeli group Marzpen. It was at one of these Marzpen protests that she was first seen by fellow Hebrew University student Michel Warschawski, who would later become her husband and a fellow left-wing activist. Warschawski, who is interviewed in the documentary, says he was intrigued not only by her physical appearance but also her fearless attitude. He vividly describes the first time he saw her at the protest as being a short, attractive, miniskirt-wearing woman who had a big voice and wasn’t shy about using crude language to make her point. When a disapproving man watching the protest told her she should be worried about finding a husband, she shouted him down by essentially telling him that he should be worried about his small penis size. Even though Tsemel and Warshcawski have kids together, they freely admit that her obsessive devotion to her work has made her family her secondary priority. Their son Nissan (nicknamed “Nini”) and daughter Talila are interviewed in the documentary, and they offer their perspectives of growing up with a mother who is a controversial public figure. Nini remembers a rare occasion from his childhood when he and his mother were spending leisure time together by talking a walk outside. They were stopped by a stranger, who showed them he had a gun and told Tsemel that people were watching her. Nini remembers being very frightened by the incident and asking his mother why she wanted to do this work if it was so dangerous. She replied that she can’t do anything else besides her work. Even though death threats are part of her mother’s work, Talila says that because of her mother’s gritty courage in dealing with her enemies, she and her family feel protected. From the very first scene of “Advocate, ” viewers see Tsemel’s dominant, “take charge” personality when, during a meeting with a client who’s accused of stabbing 11 people on a bus, she tells him about how she wants things to go for an upcoming court appearance: “I’ll do the talking. ” The client was charged with 11 counts of attempted murder, but Tsemel got the charges reduced to one count of attempted murder. In Tsemel’s line of work, that reduction of charges is a major victory. Viewers don’t find out the final outcome of the case because the documentary then shifts to the case that is the primary focus of the film, making “Advocate” not just a biography of Tsemel but also a tense legal drama. Tsemel is the defense attorney for a boy named Ahmad, who is in his mid-teens and charged with two counts of attempted murder. Several facts of the case are disputed by the prosecution and the defense, but both sides agree that Ahmad and his older teenage cousin Hassan were going around Jerusalem’s Pisgat Zeev neighborhood, openly carrying knives (some of this activity was caught on surveillance video), and two Jewish people (a man and a boy) got stabbed. The stabbings were not caught on video. In the resulting melee, Ahmad ran out on a street and was hit by a car, while Hassan was shot and killed by police. Ahmad had head and arm injuries as a result of the car accident, but they weren’t life-threatening injuries, and he was arrested. His defense was that Hassan did the stabbing, and that their intent was to scare people with the knives, not kill them. There are certain people (such as Ahmad) in the documentary whose identities are protected. The documentary doesn’t reveal their last names, and their faces are superimposed with animation, which is shown in split screen with unaltered images in the same scene. Many of Ahmad’s adult relatives, including his mother and father, are shown on camera. Cameras and other recording equipment are not allowed in the courtroom, although cameras and other recording equipment are allowed in the courthouse hallways, which is where the documentary gets the majority of the courthouse footage. In this high-profile case against Ahmad, the prosecution portrays Ahmad as a terrorist who committed a hate crime. The defense’s argument is that there is no proof that Ahmad actually did the stabbing, the crime committed was not a terrorist act or hate crime, and the attempted murder charges should be dropped. At the heart of the case is the issue of intent: Was the intent murder or something else? Tsemel and her younger co-counsel Tareq Barghout are faced with the decision to do a plea-bargain deal or take the case to trial. Revealing their decision and the outcome of the case would be spoiler information, but it’s enough to say that Tsemel, by her own admission, is the kind of person who doesn’t just back down from a fight, she runs toward it and sometimes instigates it. The decision on whether or not to take the case to trial is divisive among members of her own legal team, who express their differing opinions on what to do. Barghout is cocky with a sarcastic edge to his humor, but his bark turns out to be worse than his bite. Although Tsemel is clearly his mentor, Barghout doesn’t have the nerves of steel that she does. In one scene in the documentary, Tsemel and Barghout have to face the media in the courthouse hallway after getting a judge’s decision that’s a setback in Ahmad’s case. Tsemel barrels ahead to face the cameras and answer questions from reporters during the impromptu press conference, while Barghout decides he can’t deal with the media at that moment, so he ducks out and leaves through a back staircase. He eventually returns, somewhat sheepishly, when the press conference is nearly over, but his actions show how conflicted he feels about the public scrutiny of being Tsemel’s right-hand man. A major development involving Barghout has happened since “Advocate” had its world premiere at the 2019 Sundance Film Festival. This development won’t be a spoiler reveal in this movie review, but the documentary mentions this development in an updated postscript before the movie’s end credits. “Advocate” makes it clear that although Tsemel can be compassionate with her clients, that compassion doesn’t always extend to her employees. In one scene in the film, Barghout and Tsemel joke about an intern in their office who abruptly quit because the intern didn’t like how Tsemel yelled at the intern and told him to “eat shit” (metaphorically) after the intern resisted doing a requested office task. Barghout comments that Tsemel has said things worse things to Barghout and other people who work for her, so they have to find an intern who can handle Tsemel’s cursing and abrasive manner. One of the biggest legal issues that really gets Tsemel riled up is how authority figures use unethical interrogation techniques, which can lead to false confessions. She thinks that torture and illegal interrogation methods are much more common than what’s reported, and she believes almost all of her clients have been victims of this abuse of power. The documentary includes released footage clips of Ahmad being interrogated by police shortly after being hit by a car. The footage shows Ahmad wailing to an irate, screaming police officer that he doesn’t remember what happened and he wants to be taken to a doctor. It’s footage that may be difficult for some viewers to watch, but it’s essential to understand why people have different opinions on how suspects should be treated during interrogations. The interrogation issue is also a personal matter for Tsemel, because her husband Warschawski was brutally interrogated after being arrested in 1987 for running the Alternative Information Center, a radical political resource base that served anyone who wanted it, but the center was perceived by the Israeli government as being a haven for anti-Israeli/anti-Semitic Muslims. In an interview for the documentary, Warschawski remembers the abusive interrogations that he endured while in jail. When he contacted Tsemel and begged her to get him out of jail, she refused, and told him that she wasn’t worthy of being her husband if he couldn’t toughen up. (And she reminded her husband that the main interrogator was stuck in the same job for years, which meant that he wasn’t considered good enough to be promoted, so he shouldn’t be feared. ) Tsemel is obviously a charismatic force who’s interesting enough to have an entire documentary made about her. However, viewers should know going into this movie that the filmmakers (who’ve known Tsemel since the 1990s) are clearly fans of her, because they present very little viewpoints from the opposing side, other than clips of media footage showing Tsemel in verbal spats with opponents on talk shows, or courthouse footage of a prosecutor making remarks during a hallway press conference. The movie’s main flaw is it shows no attempt to interview people on the victims’ side. Regardless of what people think should happen to Tsemel’s clients, there are people who’ve gotten killed or hurt as a result of violent actions, and the survivors’ perspectives are shut of out this film. The talking heads in the movie include Palestinian feminist political activist Hanan Ashrawi, who talks about how normal it is for Palestinian families in Israel to have a family member who’s been a political prisoner. Also interviewed is Avigdor Feldman, an Israeli human/civil rights lawyer, who says that even though Israel passed tougher laws that restrict torture techniques in interrogations, the laws are ignored by Israel’s Secret Service. Although these intellectual viewpoints offer much-needed perspectives from people who aren’t clients, employees or family members of Tsemel, these talking heads obviously have similar left-wing mindsets. As a biography that portrays Tsemel as a flawed but admirable anti-establishment hero, this documentary succeeds on all counts. As a balanced look at Israeli’s legal system, this documentary fails to tell a well-rounded story that can be considered true investigative journalism. But on a purely human level, “Advocate” is best enjoyed if you like to root for people who go against the system to take on unpopular causes at the risk of their own safety and comfort. Film Movement released “Advocate” in select U. S. cinemas on January 3, 2020.
Eldsjälen watch free shipping. Eldsjälen watch free streaming. Eldsjälen watch free hd. Eldsjälen watch free watch. Eldsjälen watch free download. Eldsjälen watch free stream. Jewish-Israeli lawyer Lea Tsemel and her Palestinian colleagues have been working for decades representing their clients in an increasingly conservative Israel. We meet Lea and the team as they prepare for their youngest defendant yet – Ahmad, a 13-year-old boy implicated in a knife attack on the streets of Jerusalem. Together they must counter legal and public opposition and prepare Ahmad who, like other Palestinians charged with serious crimes, will face a difficult trial in a country in which the government, court system and the media are stacked against him. To many, Lea is a traitor who defends the indefensible. For others, she's more than an attorney – she’s a true ally. “ I’m an Israeli occupier, no matter what I do. I ‘ enjoy ’ the fruits of occupation, both bitter and sweet... Who gave me the moral right to judge the people who resist my occupation?... So in that sense if the act is intended to resist the occupation, as such, I’ll take [the case] on. ” - Lea Tsemel, film subject, Advocate Courtesy of Cinephil. Official selection, Sundance Film Festival 2019 Filmmaker(s): Rachel Leah Jones, Philippe Bellaiche Country of Production: Israel Canada and Switzerland Language(s): Arabic, Hebrew, fully subtitled in English Filmmaker Bio(s): Born in Berkeley, California in 1970 and raised between Berkeley and Tel Aviv, Jones is a critically acclaimed documentary filmmaker whose work focuses on Israel/Palestine. She has a BA in Race, Class and Gender Studies and a MFA in Documentary Media Arts. Her directing credits include: 500DUNAM ON THE MOON (2002) commissioned by France Channel 2; ASHKENAZ (2007) commissioned by Israel Channel 8; TARGETED CITIZEN (2010) commissioned by Adalah: the Legal Center for Arab Minority Rights in Israel; and GYPSY DAVY (2012) commissioned by Israel Channel 8 (Sundance 2012). In addition to making her own films, Jones has produced extensively with others, e. g. WALL by Simone Bitton (Cannes 2004; Special Jury Prize Sundance 2005) and has been affiliated with progressive media outlets such as DEMOCRACY NOW! in New York. Born in Paris, France in 1967, Bellaiche is an award-winning DP whose credits include BETWEEN FENCES (Berlin 2016); ONCE I ENTERED A GARDEN (Rome 2012); Z32 (Venice 2008); and AVENGE BUT ONE OF MY TWO EYES (Cannes 2005) by Avi Mograbi; THE SETTLERS (Sundance 2016) and HOTHOUSE (Special Jury Prize Sundance 2007) by Shimon Dotan; GYPSY DAVY (Sundance 2012) by Rachel Leah Jones; THE FLAT (Tribeca 2012; Israel Academy Award 2011) by Arnon Goldfinger; INCESSANT VISIONS (Jerusalem 2011), THE JOURNEY OF VAN NGUYEN (IDFA 2005) and RAGING DOVE (First Prize Doc Aviv 2002; Certificate of Merit SFIFF 2002) by Duki Dror; ROUTE 181:FRAGMENTS OF A JOURNEY THROUGH PALESTINE/ISRAEL (Second Prize Yamagata 2005) by Eyal Sivan and Michel Khleifi; FROM LANGUAGE TO LANGUAGE (First Prize Doc Aviv 2004) by Nurith Aviv; FORGET BAGHDAD(FIPRESCI Award Locarno 2002) by Samir Jamal al-Din. A cinematography lecturer and master class teacher, Bellaiche also received the Cinema Arts Award in 2013.
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Waiting for Anya Pasha Lychnikoff (Shameless and Ray Donovan) has signed on for Last Moment of Clarity, the first feature for writer/director brothers Colin Krisel and James Krisel. Currently filming in Virginia, the pic stars Samara Weaving, Carly Chaikin, and Zach Avery and follows Sam (Avery) who, after witnessing the murder of his fiancée Georgia (Weaving), re-emerges in Los Angeles, reconnects with his old friend Kat (Chaikin), and together they try to avoid the Albanian mafia while uncovering the truth about Georgia. Andrew Levitas of Metalwork Pictures is producing along with Stephen Israel and Allan Loeb. Levitas’ Rogue Black shingle is financing the project. Lychnikoff will play Karl, a mob flunky who is obsessed with finding Sam and exacting vengeance for his brother. Additionally, Lychnikoff’s upcoming slate includes Matt Ross’ Siberia, starring Keanu Reeves. He’s repped by INSURGE-Ent. Cameron Gellman, who is set to recur in the forthcoming Heathers series adaptation, has been cast in the Mary Harron-directed Charles Manson biopic, Charlie Says, which has The Crown’s Matt Smith starring as the infamous cult leader/killer. Suki Waterhouse Hannah Murray, Odessa Young, Marianne Rendon, Carla Gugino, Kayli Carter and Merritt Wever are also set to co-star in the indie, which will center around on the three young women who were sentenced to life in prison after the 1969 murders that were organized by Manson. The script is by Guinevere Turner based on Ed Sanders’ 1971 best-selling book The Family and Karlene Faith’s The Long Prison Journey of Leslie Van Houten. Jeremy M. Rosen and Kevin Shulman of Roxwell Films are producing the project, while Dana Guerin, Michael Guerin, David Hillary and Ed Sanders serve as executive producers. Gellman, who had a series regular role on last season’s TNT pilot Let The Right One In, is repped by Smith & Hervey/Grimes Talent Agency & Elevate Entertainment. Duration: N/A Release: 2018 IMDb: N/A Searching Term: Waiting for Anya Full Watch Waiting for Anya Movie Streaming Online 2018, Watch Waiting for Anya Movie Streaming HD 1080p, Free Waiting for Anya Movie Streaming Online, Download Waiting for Anya Full Movie Streaming Online in HD-720p Video Quality, Where to Download Waiting for Anya Full Movie?, Waiting for Anya Movie Include All Subtitles 2018.
2 wins & 16 nominations. See more awards » Edit Storyline Alice, a single mother, is a dedicated senior plant breeder at a corporation engaged in developing new species. She has engineered a very special crimson flower, remarkable not only for its beauty but also for its therapeutic value: if kept at the ideal temperature, fed properly and spoken to regularly, this plant makes its owner happy. Against company policy, Alice takes one home as a gift for her teenage son, Joe. They christen it 'Little Joe' but as it grows, so too does Alice's suspicion that her new creations may not be as harmless as their nickname suggests. Plot Summary | Add Synopsis Taglines: Happiness is a Business Details Release Date: 6 December 2019 (USA) See more » Box Office Opening Weekend USA: $10, 626, 8 December 2019 Cumulative Worldwide Gross: $157, 492 See more on IMDbPro » Company Credits Technical Specs See full technical specs » Did You Know? Trivia Awards: Prix d'Interprétation Féminine: Emily Beecham (Cannes International Film Festival, 2019) Grand Prix du Festival International de Science Fiction Utopiales (Poitiers, 2019) Mention Spéciale du Jury au Festival Européen du Film Fantastique (Strasbourg, 2019). See more » Connections References South Park (1997) See more » Soundtracks Happiness Business Written, produced and performed by Markus Binder. See more ».
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Critics Consensus No consensus yet. Tomatometer Not Yet Available TOMATOMETER Total Count: N/A Coming soon Release date: Audience Score Ratings: Not yet available The Man Standing Next Ratings & Reviews Explanation Movie Info In the 1970s, Korea is under the absolute control of the President Park (LEE Sung-min) who controls the KCIA, the organization with an edge over any branch of government. The director of KCIA, KIM Gyu-pyeong (LEE Byung-hun), is the seemingly most prospective second-in-command. In the midst of reign of fear, a former KCIA director, PARK Yong-gak (KWAK Do-won) who knows all about the government's obscure operations, exiles to the U. S. where the investigation of 'Koreagate' is underway. As the tension escalates, the stifling political maneuvering by the all second-in-command's unfolds. Rating: NR Genre: Directed By: Runtime: 114 minutes Studio: Showbox Cast Critic Reviews for The Man Standing Next Audience Reviews for The Man Standing Next The Man Standing Next Quotes Movie & TV guides.
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Production Notes from IMDbPro Status: Filming | See complete list of in-production titles » Updated: 28 December 2018 More Info: See more production information about this title on IMDbPro. Learn more More Like This Animation Action Adventure 1 2 3 4 5 6 7 8 9 10 7. 6 / 10 X The DigiDestined must stand together to prevent the digital world from swallowing the real world. Stars: Cristina Valenzuela, Vic Mignogna, Cherami Leigh 7. 4 / 10 Meicoomon rampages after witnessing Meiko Mochizuki being injured by the man bearing Gennai's likeness. "It would have been better if you hadn't been born... " Meicoomon disappears into the... See full summary » Director: Keitarô Motonaga 7. 5 / 10 3 years after the DigiDestined beat Apocalymon, a new evil has arrived. Ken the Digimon Kaizer! Using his Black Digivice and Evil Rings, he takes control of the digimon. To complete this,... See full summary » Tifanie Christun, Brian Donovan, Doug Erholtz 6. 7 / 10 Digimon Frontier introduces a new universe in the Digimon fandom. Five kids from the Real World have been called to the Digital World to acquire the "legendary spirits" to save the Digital... See full summary » Rica Fukami, Sawa Ishige, Masami Kikuchi The DigiDestined go to a nearby hot springs theme park and everyone has a good time, but Joe doesn't show up because he wants to study for his exams. Another infected Digimon, Ogremon,... See full summary » Miho Arakawa, John Eric Bentley, Johnny Yong Bosch Upon arriving at the Digital World after the "reboot", the digidestined are hunted by a new villain. Meanwhile, Sora is troubled by her partner digimon's indifference towards her. 8 / 10 After seeing Meicoomon's abrupt transformation and killing of Leomon, Agumon and the other Digimon are kept isolated in Koushiro's office in order to prevent them from infection, but signs of infection begin to appear in Patamon. Yutaka Aoyama, John Eric Bentley Short 7. 8 / 10 Late at night, in a seemingly normal neighborhood, a monster appears. The story of the first mysterious encounter with Digimon! Mamoru Hosoda Toshiko Fujita, Kae Araki, Chika Sakamoto Diaboromon is back and is planning another invasion upon the Real World. Takahiro Imamura Brian Donovan Three kids get transported to the Digital World where they must save its specific zones with the help of Shoutmon, an energetic digimon inhabiting the world. Nicolas Roye, Melissa Fahn, Colleen O'Shaughnessey On a certain day, before a fight that Masaru had been training for, a strange dinosaur-like creature appears. This strange creature, "Agumon", is a "Digital Monster" from another world, the... See full summary » Sôichirô Hoshi, Ken Maeda, Taiki Matsuno 7. 9 / 10 A year after the events of the first season, a virus Digimon called Diaboromon appears and starts attacking the Internet. The children and their Digimon unite once more in order to prevent... See full summary » Yûko Mizutani, Yuto Kazama Edit Details Release Date: 25 March 2020 (USA) See more » Also Known As: Digimon Adventure: Last Evolution Kizuna Company Credits Technical Specs See full technical specs ».
I like the design of this Omegamon Merciful Mode now what i need to see is Omegamon Zwart Merciless Mode. Digimon Adventure: Last Evolution Kizuna is an upcoming anime film taking place in the Digimon Adventure continuity, specifically set five years after the events of Digimon Adventure tri. It is set to be released in Japan on February 21, 2020. The original DigiDestined are quickly approaching adulthood, having already started to take strides in what they want to do in life. All seems well, until the revelation that ends up shocking them to their core is revealed; the reason why children are always chosen to be DigiDestined. Specifically, the endless choices spread across the future for them is what ultimately powers their Digivice... And once that ends, so does the partnership with their Digimon. Rapidly approaching that point, the group struggles to come to terms at the thought of losing their partners who have helped them throughout their childhood. Further complicating matters is a new threat; a Digimon attacking other DigiDestined and rendering them unconscious with what seems to be no cure. The group is now faced with a rather big dilemma, as every Digivolution their partner Digimon undergoes only lessens what time they have left with their partners. Confronted with all this, the group must face their last, and hardest, adventure. View the trailer here. Tropes:.
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