| חברי תעשיית הקולנוע הישראלית שיש להם מידע נוסף על שחיתות בקרנות, במיוחד בקרן רבינוביץ ועל דלתות מסתובבות בין מועצת הקולנוע לתפקידים בקרן, ומימון של פרויקטים אישיים של חברי מועצה, ובין קשרים של ראשי הקרנות, עובדי קרנות ולקטורים ומי שקיבלו מימון בצורה מושחתת, בבקשה צרו קשר |
It appears that there is a pervasive issue of a revolving doors policy within Israeli film funding organizations, notably “The Israeli Film Fund”, “Gesher” & “The Rabinovitch Foundation.”
This policy involves individuals who are both employed as project readers within these funds, serve as key decision-makers in the funding allocation process, who are also working filmmakers who receive financial support from the funds for their projects. This situation has resulted in a tight-knit circle of filmmakers consistently securing funding for their projects, leaving little room for emerging talent or those without direct connections to this inner circle. In Israel readers are often also employed as script consultants on submitted projects, so they, or their associates and close circle, can favorite the project that they work on as advisers.
In countries where merit is the actual deciding factor is such matters, full time readers, who are contracted for a set period of 2-3 years of full employment, who are also not working directors or producers, serve in such roles. This ensures maximum impartiality and the reduction of conflict of interests. These readers, unlike in Israel, are replaced periodically, not to allow them to concentrate too much power, which may lead to eventual corruption.
However in Israel the system is set up purposefully to allow the gatekeepers to use the distribution of resources as a currency, giving and accepting favors, in the form of project selections worth millions of Euros annually. This is done by hiring different readers, on a short term basis, who do not have an overview of the entire selection process, and who are not committed to the long term integrity of the organization. At the same time, the organization itself, does not have a commitment to truly take into account the readers scoring, and can end up funding projects on the basis of personal friendships and other interests, such as in, possibly and allegedly, the case of Yona Rozenkier and his Cannes employed producer, Dominique Welinski.
The Israeli film industry, locally referred to as “the swamp”, is widely recognized for its troubling issues with funding. A recent notable instance involves Adar Shafran, the head of the Israeli Producers Association. Despite his primary experience as a producer, Shafran controversially secured funding from The Israeli Film Fund for a directorial project, without qualification or experience for such a role. Nadav Lapid, who is not a full time resident of Israel, but recently received full production grant from the fund, possibly against the rules. Concurrently, The Rabinovitch Foundation awarded production funds to director Avi Nesher and, at the same time in a separate decision, to his daughter, Tom Nesher. And as we’ve reported elsewhere, the previous head of the fund, who had been in power for almost 30 years, has awarded production funding to his wife’s business partners as one of his last decisions on the job. These incidents are part of a broader pattern of alleged favoritism and nepotism that plagues the Israeli film industry, which the local filmmakers are fully aware of, but have little in their power to anything about.
The tables below illustrate films that have received funding, with each corresponding to individuals who have also been recipients of funding for their own project development or production from one of the funds. The accompanying columns display the periods during which these individuals worked as readers for the funds.
In summery, there were 9 fund readers that received funding while working for the funds, 20 readers who received funding near the time of their employment in the funds, and one reader that worked as a script editor on a funded project while working for a fund.
It is evident that individuals who have longstanding affiliations with these funds, serving as employees, consultants, readers, and decision-makers, enjoy a significant advantage over filmmakers who lack regular interaction with these organizations and have no access to the individuals in influential positions within them. This disparity raises concerns about fairness and equal opportunity within the Israeli film funding landscape. The Israeli Film Fund is currently lead by Noa Regev (נעה רגב), and Avital Bekerman (אביטל בקרמן) is Head of Development. Additional information about the fund can be read in our report concerning questions about the integrity of the European film industry.
Thanks to readers contribution we received the following conversation between two Israeli filmmakers, one of them very familiar with the Rabinovich fund, currently the biggest film fund in Israel, who was involved in a number of projects that received funding from the fund. The message reads:
I understand perfectly well. Rabinovich is a rigged game. If I could only tell you the whole truth…..”
The message doesn’t need interpretation or context, as it is quite clear.
Thanks to another readers contribution, the following is a conversation between Israeli writer and director Amir Manor, listed as a reader for the Israeli film fund five times between July 2019 and 2022 (source). In the last decade Manor served as a readers for the funds more than 20 times, and had so far received funding for three projects to date. In the following screenshot Manor informs the fellow filmmaker that he is likely to not get funding in the current round and that he will have to “wait for the next one.” This was told to the filmmaker before the deadline for the submissions was even closed while Manor was serving as reader for the fund, as if the results of submission had already been decided in advance.
To clarify, Manor had informed the filmmaker that he was reading for the fund voluntarily, without being asked about it, when it is quite clear that this the type of information that should not be disclosed in the first place. Why would a reader for a fund tell a filmmaker that he is “likely” not get the funding, before the submissions were even closed, and before any script had been read?
The filmmaker indeed did not receive funding from the fund as Manor predicted, nor in the next and final round, despite the script receiving the following scores, averaging 9 out of 10, simply because he is not part of the local clique, or “syndicate” of people belonging to the network, many of which are listed in the table at the bottom of this article, individuals who are both repeatedly hired by the fund as script readers or advisers, and granted production money by it.
It is important to note that Manor charges 10,000 Israeli Shekels ($2800) for feature script editing / consulting and prouds himself for being the script consultant on many projects that over the years had received funding for either development or production from the various Israeli film funds, funding worth millions of Euros.
A question is raised about a possible relationship between the fact that Manor is so deeply involved in the funds as a consultant / reader / temporary employee, while being paid to advise and edit scripts which are then submitted to receive funding from the very same funds.
In a completely unrelated but interesting note, in a forum post from 2008, Manor is accused of being “recorded lying and cheating in order to publish a false article.” These allegations were lodged against him while he was working as a journalist. These allegations are completely unrelated to the issues mentioned above, anecdotal, and were made by a 3rd party in 2008, yet in light of all the other articles and facts published on this website, it is difficult to not wonder if this is not part of a larger pattern of the ethical standards by the people who make up the film industry, which is the root cause for the reasons this website had to be established in the first place.
Also note that Manor is just one person – the list in the bottom of this article recounts the names of two dozen individuals who over the years repeatedly worked for the funds as readers and also receive funding from them as directors of feature films.
In addition, as part of our ongoing investigation into the Rabinovich Foundation, currently the largest film fund in Israel, an additional revolving door has been observed, one that involves the fund and members of the Israeli Film Council, the governmental body that distributes funding to the various Israeli Film Funds.
It appears that over the years several individuals have been employed by the Rabinovich Foundation, before, while or after serving as members of the Israeli Film Council, or that their projects received financial support by the fund.
As can be seen in the example below, Osnat Bukofzer, who currently works for the Rabinovich Foundation, has severed as a member of the Film Council for several years. In addition, Bukofzer manages the Israeli Pavilion in Cannes, which the Rabinovich Foundation finances. Having served as a member on the Israeli Film Council and making decisions that directly effect the amount of money that the fund received, this is a clear case of a conflict of interest, where favors are exchanged over a long period of time, in the form of employment and other positions within the industry. Our sources report that this is far from being the only case and that over the years several compromised council members have been working to promote the interests of the Rabinovich Foundation from within the council, including the former head of the council, who kept a very close relationship, (some say intimate, but this is alleged) with the head of the fund. The case of Bukofzer is just one examples of many that we will reveal in our upcoming article about the Rabinovich Foundation, known in the local industry as being completely corrupt, having been controlled by the same individuals for over 20 years.
Corruption in the Israeli film industry is not a bug, but a feature of the system.
In the example below, also sent by readers of the site, a former employee of the Jerusalem Film Festival, then headed by the current head of the Israeli Film Fund Noa Regev, had both received funding for a short film and then had it screened in the festival where she was employed. While not illegal in any way, this is simply another example of how insular the Israeli film industry is and why newcomers find it so difficult to get their films made or screened, when employees, friends or family take up most of the available opportunities. The two following screenshots are the very definition of a “revolving door.”
The “revolving door” system explained above is of course not limited to Israel, and is part of a wider issue that plagues the European (and global) film industry in its entirety. The following comments were left on a related post on Reddit, mentioning Norway, Slovakia, Italy and Australia as other countries where the system is set-up in the same way. Film Industry Watch receives emails daily from every corner of the world, describing a similar situation, in multiple countries. The reason nepotism, favoritism and other ills plague the film industry everywhere is that Art, on the face of it, is subjective, allowing the ‘decision makers’ to essentially do whatever they want, resulting in the following descriptions of other local film industry scenes:
A revolving doors policy within film funding organizations, where the same individuals both evaluate project proposals and receive funding for their own projects, can degrade the quality of films being made in several ways:
- Lack of diversity: This practice tends to perpetuate a narrow pool of filmmakers who consistently receive funding, often leading to a lack of diversity in terms of voices, perspectives, and storytelling approaches. New and innovative voices from emerging filmmakers may struggle to break into the industry, resulting in a stagnant and homogenous film landscape.
- Stifling creativity: When a select group of individuals repeatedly receives funding, they may become complacent or risk-averse in their creative choices. The fear of jeopardizing future funding opportunities can discourage experimentation and the exploration of new ideas, resulting in formulaic or safe filmmaking.
- Limited exposure to fresh talent: Talented filmmakers who do not have connections within the established inner circle may go unnoticed or face difficulties in getting their projects funded. This can result in missing out on potentially groundbreaking and unique cinematic voices that could contribute to the enrichment of the industry.
- Reduced accountability: When those who evaluate and allocate funds are also recipients of funding, it can create a conflict of interest. There may be less scrutiny and accountability in the decision-making process, as individuals may be inclined to support projects from colleagues or acquaintances rather than solely based on the merit of the project.
In summary, a revolving doors policy in film funding organizations can result in a less diverse, less innovative, and less accountable film industry. It limits opportunities for emerging talent, stifle creative exploration, and prioritize personal connections over the quality of film projects, ultimately impacting the richness and diversity of films being made.
IMPORTANT NOTE: Please note that this article, like all other articles on this site, is not meant to be an ad hominem attack on any specific person. The individuals mentioned in this article and their positions in various organizations are used as examples for the way that the film industry operates. The positions, roles and professional relationship between individuals are public information. Sources are provided throughout the website. If you would like to report any inaccuracy please do not hesitate to contact us.
Our organization is dedicated to unveiling the true decision-making processes and power dynamics within the film industry. The chart below provides a comprehensive summary of these elements. Our goal is to democratize access and provide talented, emerging young filmmakers with the opportunities they rightfully deserve to succeed in the industry. If you would like to contribute additional information, please contact us.
1) Amir Manor – עמיר מנור
| The name of the fund | Year | due in | Route | Films that received funding | sleep | A financing fund | Remarks |
| The Israeli Film Fund | 2013 | May | Script development | ||||
| The Israeli Film Fund | 2013 | November | Script development | ||||
| The Israeli Film Fund | 2014 | November | Independent | Flowers of marzipan | 2014 | The Israeli Film Fund | script editing[6] |
| Gesher Foundation | 2015 | ||||||
| The Israeli Film Fund | 2015 | November | Script development | I can’t believe I’m a robot | 2015 | The Israeli Film Fund[7] | This film is among the 99 films that did not go through the approval process and received funding[8] |
| Rabinovitch | 2016 | students | |||||
| The Israeli Film Fund | 2018 | July | Script development step one | ||||
| Rabinovitch | 2019 | students | The house on Finn Street | 2018 | Rabinovitch[9] | This film is among the 99 films that did not go through the Lectora process and received funding[10] | |
| The Israeli Film Fund | 2019 | September | debutantes | ||||
| The Israeli Film Fund | 2019 | December | central | ||||
| Gesher Foundation | 2020 | ||||||
| Rabinovitch | 2020 | diploma | |||||
| The Israeli Film Fund | 2020 | May | development | the swimmer | 2021 | The Israeli Film Fund | script editing[11] |
2) Lee Gilat – לי גילת
| The name of the fund | Year | due in | Route | Films that received funding | sleep | A financing fund |
| The Israeli Film Fund | 2013 | November | Script development | |||
| The Israeli Film Fund | 2014 | November | Independent | rounders | 2014 | The Israeli Film Fund[12] |
| The Israeli Film Fund | 2014 | June | Script development | |||
| Gesher Foundation | 2015 | |||||
| Rabinovitch | 2015 | A | Features | The good words | 2015 | Rabinovitch[13] |
| The Israeli Film Fund | 2015 | April | Comedy/genre | |||
| The Israeli Film Fund | 2015 | November | Script development | |||
| Rabinovitch | 2017 | Features | opposites | 2016 | Rabinovich[14] | |
| Gesher Foundation | 2018 | An ordinary day (short film) | 2018 | bridge[15] | ||
| Gesher Foundation | 2019 | |||||
| The Israeli Film Fund | 2020 | April | central track |
3) Amnon Zelait – אמנון זלאייט
| The name of the fund | Year | due in | Route | Films that received funding | sleep | A financing fund | Remarks |
| The Israeli Film Fund | 2013 | November | Script development | ||||
| Rabinovitch | 2014 | B | Features | ||||
| The Israeli Film Fund | 2014 | November | debutantes | ||||
| The Israeli Film Fund | 2014 | June | Script development | ||||
| Rabinovitch | 2015 | B | Features | ||||
| The Israeli Film Fund | 2015 | November | Script development | ||||
| Rabinovitch | 2016 | Features | Tzipuri Khol [16] [17], G’ankshan 48 [18] [19] | 2016 | Rabinovitch | photographer | |
| The Nerd Club [20] [21] [22] [23] | 2017 | ||||||
| Gesher Foundation | 2017 | ||||||
| Rabinovitch | 2019 | Features | A hero in the clouds | 2018 | Rabinovitch [24] [25] | ||
| Rabinovitch | 2020 | diploma | the meal | 2020 | Rabinovitch[26] | photographer |
4) Tal Granite – טל גרניט
| The name of the fund | Year | due in | Route | Films that received funding | sleep | A financing fund | Remarks |
| Rabinovitch | 2015 | A | Features | ||||
| The Israeli Film Fund | 2015 | April | Script development | ||||
| Gesher Foundation | 2019 | ||||||
| The Israeli Film Fund | 2019 | April | central | the prom | 2018 | The Israeli Film Fund[27] | This film is among the 99 films that did not go through the approval process and received funding[28] |
| The Israeli Film Fund | 2019 | September | debutantes | ||||
| Rabinovitch | 2020 | diploma | Omi Ralia | 2019 | Rabinovitch[29] | ||
| Rabinovitch | 2020 | Features | happy ending | 2021 | Rabinovich[30] |
5) Sharon Maimon – שרון מימון
| The name of the fund | Year | due in | Route | Films that received funding | sleep | A financing fund | Remarks |
| The Israeli Film Fund | 2013 | November | central | ||||
| Rabinovitch | 2015 | B | Features | ||||
| Rabinovitch | 2015 | A | Features | ||||
| Rabinovitch | 2016 | Features | |||||
| Rabinovitch | 2019 | Features | Baby Bombay[31] | 2019 | Rabinovitch | ||
| Omi Ralia[32] | |||||||
| The Israeli Film Fund | 2019 | April | central | the prom | 2018 | The Israeli Film Fund[33] | This film is among the 99 films that did not go through the approval process and received funding[34] |
| Rabinovitch | 2020 | Features | happy ending | 2021 | Rabinovich[35] |
6) Efrat Korem – אפרת כורם
| The name of the fund | Year | due in | Route | Films that received funding | Remarks |
| 2014 | Old Man | ||||
| Gesher Foundation | 2015 | ||||
| The Israeli Film Fund | 2015 | July | Independent | ||
| The Israeli Film Fund | 2015 | November | Script development | ||
| The Israeli Film Fund | 2016 | November | Completion of production | ||
| Rabinovitch | 2019 | Features | |||
| The Israeli Film Fund | 2019 | September | debutantes | ||
| Gesher Foundation | 2020 | ||||
| The Israeli Film Fund | 2020 | September | Independent | ||
| Rabinovitch | 2019 | Features | A woman is sitting in the director’s chair | participation |
7) Dita Geri – דיתה גרי
| The name of the fund | sleep | due in | Route | Films that received funding |
| Source fund | 2005 | “Kafka’s Magic” | ||
| The Israeli Film Fund | 2014 | November | debutantes | |
| The Israeli Film Fund | 2016 | An Israeli love story | ||
| Gesher Foundation | 2015 | |||
| Rabinovitch | 2017 | students | ||
| Rabinovitch | 2017 | diploma | ||
| The Israeli Film Fund | 2018 | July | Script development step b | |
| Rabinovitch | 2019 | students | ||
| Rabinovitch | 2019 | diploma |
8) Israela Shaar – ישראלה שאער מעודד
| The name of the fund | sleep | due in | Route | Films that received funding | sleep | A financing fund |
| Rabinovitch | 2014 | B | diploma | |||
| Rabinovitch | 2014 | A | diploma | |||
| Rabinovitch | 2015 | B | diploma | |||
| Rabinovitch | 2015 | A | diploma | |||
| Gesher Foundation | 2016 | |||||
| Gesher Foundation | 2017 | |||||
| Gesher Foundation | 2019 | |||||
| Gesher Foundation | 2020 | |||||
| Rabinovitch | 2020 | diploma | Wife | 2019 | Rabinovich[36] | |
| Rabinovitch | 2020 | Features | ||||
| Rabinovitch | 2021 | B | students | |||
| Rabinovitch | 2021 | A | diploma |
9) Netali Brown – נטעלי בראון
| The name of the fund | sleep | due in | Route | Films that received funding | sleep | A financing fund |
| The Israeli Film Fund | 2013 | May | Script development | |
| Rabinovitch | 2014 | B | diploma | |
| Rabinovitch | 2014 | A | diploma | |
| The Israeli Film Fund | 2017 | May | debutantes | |
| Gesher Foundation | 2019 | |||
| Rabinovitch | 2019 | diploma | ||
| The Israeli Film Fund | 2020 | May | development | |
| The Israeli Film Fund | 2021 | May | production | Feature production |
10) Raphael Balolo – רפאל בלולו
| The name of the fund | sleep | due in | Route | Films that received funding | sleep | A financing fund |
| Rabinovitch | 2014 | B | students | |||
| Gesher Foundation | 2015 | |||||
| Rabinovitch | 2015 | B | students | |||
| Rabinovitch | 2015 | A | students | |||
| Rabinovitch | 2019 | diploma | ||||
| Rabinovitch | 2020 | diploma | ||||
| Rabinovitch | 2020 | Features | Good spies | 2021 | Rabinovich[37] |
11) Leon Prodovsky – לאון פרודובסקי
| The name of the fund | sleep | due in | Route | Films that received funding |
| The Israeli Film Fund | 2009 | Production financing | Features | Five hours from Paris |
| Rabinovitch | 2013 | B | Features | |
| Rabinovitch | 2013 | A | Features | |
| Gesher Foundation | 2015 | |||
| Rabinovitch | 2015 | B | Features | |
| Rabinovitch | 2015 | A | Features | |
| Gesher Foundation | 2017 | |||
| The Israeli Film Fund | 2017 | May | Independent | |
| The Israeli Film Fund | 2017 | February | Script development step one | |
| Rabinowitz | 2022 | Production financing | My neighbor is Adolf |
12) Eric Caplon –אריק קפלון
| The name of the fund | sleep | due in | Route | Films that received funding | sleep | A financing fund |
| The Israeli Film Fund | 2013 | May | Script development | |||
| The Israeli Film Fund | 2015 | April | Script development | |||
| The Israeli Film Fund | 2019 | December | central | |||
| Rabinovitch | 2020 | Features | ||||
| The Israeli Film Fund | 2020 | April | central track | Home HOME | 2021 | The Israeli Film Fund[38] |
| Rabinovitch | 2021 | A | Features |
In addition, he is employed as a workshop leader in collaboration with the Ministry of Culture, the Rabinovitch Foundation, the Gesher Foundation and the Screenwriters’ Union[39]
13) Suha Aref – סוהא עארף
| The name of the fund | sleep | due in | Route | Films that received funding | sleep | A financing fund |
| The Israeli Film Fund | 2013 | November | Script development | |||
| The Israeli Film Fund | 2014 | June | Script development | Villa Toma | 2014 | The Israeli Film Fund[40] |
| Gesher Foundation | 2015 | |||||
| Gesher Foundation | 2016 | |||||
| Rabinovitch | 2016 | Features | ||||
| Gesher Foundation | 2019 | |||||
| The Israeli Film Fund | 2020 | April | central track |
14) Gor Heller – גור הלר
| The name of the fund | sleep | due in | Route | Films that received funding | sleep | A financing fund | Remarks |
| The Israeli Film Fund | 2016 | April | Script development | ||||
| Gesher Foundation | 2018 | ||||||
| The Israeli Film Fund | 2018 | July | Script development step one | are in doubt | 2017 | The Israeli Film Fund[41] [42] | script editor |
| Gesher Foundation | 2019 | ||||||
| Rabinovitch | 2019 | diploma | |||||
| Rabinovitch | 2019 | Features | |||||
| Rabinovitch | 2020 | diploma | |||||
| The Israeli Film Fund | 2020 | September | Independent |
15) Ronnie Kidar – רוני קידר
| The name of the fund | sleep | due in | Route | Films that received funding | sleep | A financing fund |
| Rabinovitch | 2013 | B | students | |||
| Rabinovitch | 2013 | A | students | |||
| Rabinovitch | 2014 | Apocalypse | ||||
| The Israeli Film Fund | 2016 | May | debutantes | Family | 2015 | The Israeli Film Fund[43] |
| Gesher Foundation | 2017 | The woman who wanted to kill someone | 2016 | Gesher [Goethe Institute, import-export project][44] | ||
| The Israeli Film Fund | 2017 | February | Script development step one |
Her film “Sofolam” is among the 99 films that did not go through the approval process and received funding [45]
16) Yevgeny Roman – יבגני רומן
| The name of the fund | sleep | due in | Route | Films that received production funding | sleep | A financing fund |
| Gesher Foundation | 2015 | Area A | 2014 | bridge[46] | ||
| Rabinovitch | 2015 | B | Features | |||
| Rabinovitch | 2015 | A | Features | |||
| The Israeli Film Fund | 2016 | May | Children | |||
| The Israeli Film Fund | 2016 | April | Script development | |||
| The Israeli Film Fund | 2019 | September | debutantes | Background noises | 2018 | The Israeli Film Fund[47] |
17) Idan Hubel – עידן הובל
| The name of the fund | sleep | due in | Route | Remarks | Films that received funding | sleep | A financing fund |
| 2012 | the water disconnector | ||||||
| Gesher Foundation | 2015 | In the spirit of cinema [November 5] | a slice of bread | 2015 | bridge[48] | ||
| Gesher Foundation | 2019 | In the spirit of cinema [November 5] | |||||
| Rabinovitch | 2019 | students | |||||
| Rabinovitch | 2020 | students | |||||
| Rabinovitch | 2020 | diploma | |||||
| Gesher Foundation | 2021 | March | shorts |
18) Tawfik (Agbariya) Abu Wail – תאופיק (אגבאריה) אבו ואיל
| The name of the fund | sleep | due in | Route | Films that received funding | sleep | A financing fund |
| The Israeli Film Fund | 2013 | April | central | |||
| The Israeli Film Fund | 2013 | November | Completion of production | the freedom train | ||
| Gesher Foundation | 2015 | Love on Demand: Love Letters to Cinema | 2014 | Bridge [49] [50] | ||
| The Israeli Film Fund | 2015 | November | Script development | |||
| The Israeli Film Fund | 2020 | April | central track | Hassan the wise | 2019 | The Israeli Film Fund[51] |
19) Mia Dreyfus – מיה דרייפוס
| The name of the fund | sleep | due in | Route | Films that received production funding | sleep | A financing fund | Remarks |
| Gesher Foundation | 2019 | ||||||
| Rabinovitch | 2019 | students | the diving | 2018 | Rabinovitch[52] | ||
| Rabinovitch | 2019 | diploma | |||||
| Gesher Foundation | 2020 | youth | 2020 | Bridge [53] [54] | |||
| A woman is sitting in the director’s chair | Verbinovich Bridge[55] | Participated in the film[56] | |||||
| bridge | 2021 | open | dedicated |
20) Samdar Zamir – סמדר זמיר
| The name of the fund | sleep | due in | Route | Films that received funding | sleep | A financing fund |
| Gesher Foundation | 2019 | |||||
| Rabinovitch | 2019 | diploma | ||||
| Rabinovitch | 2020 | Features | A woman is sitting in the director’s chair | 2020 | Verbinovich Bridge[57] | |
| Gesher Foundation | 2021 | December | final | |||
| Gesher Foundation | 2021 | March | short ones |
21) Verdit (Vidy) spent – ורדית (וידי) בילו
| The name of the fund | sleep | due in | Route | Films that received funding | sleep | A financing fund |
| 2013 | production | “The End of the Age of Innocence” | ||||
| Gesher Foundation | 2015 | |||||
| Gesher Foundation | 2016 | Wires (short film)[58] | 2017 | bridge | ||
| Belly Fire (short film)[59] | ||||||
| The Israeli Film Fund | 2019 | December | debutantes | |||
| Rabinovitch | 2021 | B | Features | |||
| Rabinovitch | 2021 | A | Features |
Her film “The End of the Age of Innocence” is among the 99 films that did not go through the approval process and received funding [60]
22) Kobi Mizrahi – קובי מזרחי
| The name of the fund | sleep | due in | Route | Films that received funding | sleep | A financing fund | Remarks |
| Gesher Foundation | 2017 | Ben Gurion, Epilogue | Bridge and source [61] [62] | Used as post production | |||
| Gesher Foundation | 2018 | ||||||
| Gesher Foundation | 2019 | ||||||
| Gesher Foundation | 2020 | ||||||
| Rabinovitch | 2020 | students | Taketsubo | 2021 | Rabinovitch and the New Cinema Fund[63] [64] | ||
| The Israeli Film Fund | 2020 | May | Completion of production | ||||
| Gesher Foundation | 2021 | January | Final – feature pitching |
23) Sherry Azuz- Berger – שרי עזוז- ברגר
| The name of the fund | sleep | due in | Route | Films that received funding | sleep | A financing fund | Remarks |
| Rabinovitch | 2017 | Features | |||||
| Rabinovitch | 2019 | Features | |||||
| Gesher Foundation | 2020 | sweetie | 2019 | bridge[65] | editor | ||
| polygraph (short film) | 2020 | ||||||
| Rabinovitch | 2021 | A | diploma | ||||
| Rabinovitch | 2021 | A | Features |
24) Dana Goldberg – דנה גולדברג
| The name of the fund | sleep | due in | Route | Films that received funding | sleep | A financing fund | Remarks |
| The Israeli Film Fund | 2014 | June | Script development | ||||
| Rabinovitch | 2016 | students | |||||
| The Israeli Film Fund | 2019 | June | development | ||||
| Rabinovitch | 2019 | students | Received funding for the book of poetry she published “Shemesh Ishira” (2019) from the Rabinovitch Fund[66] | ||||
| Rabinovitch | 2019 | Features | A woman is sitting in the director’s chair | 2020 | Verbinovich Bridge[67] | Participated in the film |
25) Esti Alamo-Wexler – אסתי עלמו-וקסלר
| The name of the fund | sleep | due in | Route | Films that received funding | sleep | A financing fund | Remarks |
| Gesher Foundation | 2017 | ||||||
| Gesher Foundation | 2019 | ||||||
| Rabinovitch | 2020 | Features | A woman is sitting in the director’s chair | 2020 | Verbinovich Bridge[68] | Participated in the film | |
| Rabinovitch | 2021 | A | Features |
With unwavering support from our community, Film Industry Watch proudly announces the creation of a $25,000 Whistleblower Fund. This pivotal initiative is devoted to identifying and exposing nepotism and misconduct in the film industry. Our aim is to cultivate an atmosphere of transparency and accountability, ensuring an equitable and principled environment for all industry members. We encourage anyone aware of criminal activities or misconduct to reach out to us confidentially. Rest assured, your identity will be protected. Reports leading to articles posted on this website, significant organizational changes or legal proceedings will be eligible for a financial reward for between $100 to $5000 for each report.
We hold a special focus on Film Festivals, Screenwriting Labs, various awards, and public Film Funds. It’s important to remind our readers that these entities are predominantly supported by public funding, which necessitates a standard of fairness and transparency in their operations.
Stand with us in our quest for integrity in the film industry – your voice matters.
Sources:
Israeli film fund selection committees in the last 5 years – https://www.filmfund.org.il/ContentPage?id=49
[1] https://www.nevo.co.il/law_html/law01/p202k2_001.htm
[2] Source: Tafen report, 2017
[3] Source: Tafen report, 2017
[4] List of lecturers at the Rabinovich Foundation 2013-2017 from the foundation’s website
[5] Source: Tafen report, 2017
[7]https://www.filmfund.org.il/films/?id=&nom=003776&film=%D7%90%D7%A0%D7%99%20%D7%9C%D7%90%20%D7%9E%D7%90%D7%9E%D7%99%D7%9F%20%D7%90%D7%A0%D7%99%20%D7%A8%D7%95%D7%91%D7%95%D7%98
[8] https://drive.google.com/open?id=1XplRVgAO59g18A5YyOnG0FWwow_fLQOU
[9] https://www.cinemaproject.org.il/ns/index.php?option=com_phocadownload&view=category&download=19
[10] Source: Tafen report, 2017
[12] https://www.filmfund.org.il/films/?id=&nom=002482&film=%D7%94%D7%A7%D7%A4%D7%95%D7%AA
[14] https://www.cinemaproject.org.il/ns/index.php?option=com_phocadownload&view=category&download=19
[15] https://gesherfilmfund.org.il/Catalog/#film-catalog
[17] https://cinemaofisrael.co.il/%D7%A6%D7%99%D7%A4%D7%95%D7%A8%D7%99-%D7%97%D7%95%D7%9C/
[18] https://cinemaofisrael.co.il/%D7%92%D7%A0%D7%A7%D7%A9%D7%9F-48/
[21] https://www.edb.co.il/title/t0014554/cast/
[23] https://cinemaofisrael.co.il/%D7%A1%D7%93%D7%A7%D7%99%D7%9D/
[25] https://www.edb.co.il/title/t0015168/cast/
[26] https://www.cinemaproject.org.il/ns/index.php?option=com_phocadownload&view=category&download=19
[27]https://www.filmfund.org.il/films/?nom=002808&film=%D7%94%D7%A0%D7%A9%D7%A3
[28]Source: Tafen report, 2017
[29]https://www.cinemaproject.org.il/ns/index.php?option=com_phocadownload&view=category&download=19
[30] https://www.cinemaproject.org.il/ns/index.php?option=com_phocadownload&view=category&download=19
[31] https://www.cinemaproject.org.il/ns/index.php?option=com_phocadownload&view=category&download=19
[32] https://www.cinemaproject.org.il/ns/index.php?option=com_phocadownload&view=category&download=19
[33]https://www.filmfund.org.il/films/?nom=002808&film=%D7%94%D7%A0%D7%A9%D7%A3
[34] Source: Tafen report, 2017
[35] https://www.cinemaproject.org.il/ns/index.php?option=com_phocadownload&view=category&download=19
[37] https://www.cinemaproject.org.il/ns/index.php?option=com_phocadownload&view=category&download=19
[40]https://www.filmfund.org.il/films/?nom=3620&film=%D7%95%D7%99%D7%9C%D7%94%20%D7%AA%D7%95%D7%9E%D7%90%20(%D7%A9%D7%9C%D7%95%D7%A9%20%D7%90%D7%97%D7%99%D7%95%D7%AA)
[41]https://www.filmfund.org.il/films/?nom=003938&film=%D7%9E%D7%95%D7%98%D7%9C%D7%99%D7%9D%20%D7%91%D7%A1%D7%A4%D7%A7
[42] https://cinemaofisrael.co.il/%D7%9E%D7%95%D7%98%D7%9C%D7%99%D7%9D-%D7%91%D7%A1%D7%A4%D7%A7/
[43]https://www.filmfund.org.il/films/?nom=003818&film=%D7%9E%D7%A9%D7%A4%D7%97%D7%94
[45] Source: Tafen report, 2017
[46] https://gesherfilmfund.org.il/Catalog/#film-catalog
[47]https://www.filmfund.org.il/films/?nom=002762&film=%D7%A7%D7%95%D7%9C%D7%95%D7%AA%20%D7%A8%D7%A7%D7%A2
[48] https://gesherfilmfund.org.il/Catalog/#film-catalog
[49] https://gesherfilmfund.org.il/Catalog/#film-catalog
[50] https://www.habama.co.il/Pages/Event.aspx?Subj=4&Area=1&EventId=3758
[51]https://www.filmfund.org.il/films/?nom=002791&film=%D7%97%D7%A1%D7%9F%20%D7%94%D7%97%D7%9B%D7%9D
[53] https://gesherfilmfund.org.il/Catalog/#film-catalog
[54] https://www.edb.co.il/title/t0016311/cast/
[56] https://www.bezalel.ac.il/events/3070
[58] https://gesherfilmfund.org.il/Catalog/#film-catalog
[59] https://jer-cin.org.il/he/movie/18525
[60] Source: Tafen report, 2017
[61] https://gesherfilmfund.org.il/Catalog/#film-catalog
[62] https://cinemaofisrael.co.il/%D7%A7%D7%95%D7%91%D7%99-%D7%9E%D7%96%D7%A8%D7%97%D7%99/
[63] https://www.cinemaproject.org.il/ns/index.php?option=com_phocadownload&view=category&download=19
[64] https://www.facebook.com/TelAvivUniversityFilmTVSchool/posts/2354090558010267/
[65] https://gesherfilmfund.org.il/Catalog/#film-catalog
[66] https://goldbergdana.com/about/
[67] https://www.bezalel.ac.il/events/3070
[68] https://www.bezalel.ac.il/events/3070
[69] https://www.forumtarbut.org.il/wp-content/uploads/2021/06/Division-Managers.pdf
[70] https://www.israelhayom.co.il/article/757483
https://www.linkedin.com/in/osnat-bukofzer-4895862b/details/experience/
