“I wanted to go towards something that was raw, not formatted, I wanted to get back to the beginnings of cinema”
- Keren Yedaya

Above and beyond being a filmmaker, you are a woman who is very politically involved. Could you tell us about this activity ?

Political and social involvement plays a very big role in my life. My daily activity revolves around it. The films I make, the associations I belong to, demonstrations, anything that might help change society, if only a little. Over these past two years, the most sensitive subjects for me have been prostitution, which I speak of in my film, and the fight against the occupation of Palestinian territories.

Do you consider the cinema an extension of your political and social involvement ?

Yes. I have a hard time appreciating art that is cut off from all social and political involvement. Entertainment films can be, but not artistic ones. I may be naïve, but I still believe artists have a role to play in society and that they don’t have the right to flee this responsibility. In fact, this belief concerns all human beings, not just artists.

What made you decide to come work in France ?

I met my French producers Emmanuel Agneray and Jérôme Bleitrach (Bizibi Productions) through Virginie Despentes, who saw my short film Lulu at the Créteil Women’s Film Festival (1999). She liked the film very much and gave a copy of it to Emmanuel Agneray. Bizibi finished the post-production phase of the film and took charge of the distribution. As we got on well, we decided to work together on another short film before moving on to a feature film. So I came to Paris with my film editor, Sari Ezouz, and we shot a short film called Underwear. During this period, I began writing the first version of Or.

Marek Rozenbaum and Itai Tamir from Transax Films in Tel Aviv were very enthusiastic about the idea as well, and decided to join the project.

Or is the second film, after Lulu, in which you broach the subject of prostitution. How has your vision of this subject evolved between the two films ?

Nothing has changed. In the two films, I try to say something about the terrible world of prostitution, in hopes that people will realize it is one of the worst forms of slavery that exists.

In Or, you direct two protagonists for the first time, a mother and her daughter. How did you work with the two actresses, Ronit Elkabetz and Dana Ivgy ?

When I first met them, I knew we would become friends. This was essential for me in order to be able to work together, there needed to be a climate of confidence and intimacy between the three of us. We rehearsed very little, but we spent hours talking about the scenario and our lives. I chose two very talented actresses, but above all they are both fascinating and intelligent women.

In Or, the theme of prostitution is directly related to class issues…

Of course. All of these elements overlap. They are all part of the same sick society. It’s the same thing with politics : I cannot be a feminist, fighting for women’s rights, and at the same time close my eyes to the occupation of the territories and the repression of three million Palestinians. In my films, I try to suggest that there is a connection between these different themes. For example, in Or, the most aggressive character is the soldier who joins Or during his military leave from the territories.

The film is very impressive from an esthetic point of view. There is true stylistic unity : long still sequence shots, no editing effects, no music. Why did you choose such a streamlined style ?

When I was writing Or, I was very interested in photography. At the same time, I reject films that are “too pretty”, too well lit, too well filmed, too slick, too “hip”. I wanted to go towards something that was more raw, less formatted, I wanted to get back to the beginnings of cinema. I get the impression that the “professionalization” of cinematographic language is in fact a form of regression, and that today’s cinema is far too influenced by video clips and advertising. For me, the period when you are shooting is a sort of adventure in which chance plays an important role. The idea of using still sequence shots was very exciting to both my director of photography (Laurent Brunet) and myself, as was the sensation I had of taking risks throughout the entire shooting.

What do you think about women’s conditions in Israel today? Does a “ women’s cinema” exist there ?

The situation in Israel is not any different from many other countries. I think Sweden is a relatively advanced country in terms of women’s rights. Unfortunately, Israel falls far behind. Once again, the occupation and the “war cult” have a direct influence on women’s conditions. A society marked by militarism does not leave much room for more “feminine” values. Traditionally speaking, the Israeli woman is perceived as a sort of reward for men who return from the battleground. This is reflected in the realm of cinema as well : Israeli society does not give women enough possibilities to create, and in a more general manner, to express themselves. I think that Israeli society has everything to win by listening to women. This is true for the rest of the world too. 

What is your next project? Will it be another “committed” film ?

My new project will be political. I want to make a film about the Israeli-Palestinian conflict. When I returned to Israel two years ago, I said to myself that I did not have the right to live on this land without fighting against this occupation. I want it to be a colorful and enticing film, one that could appeal to the general public. Candy-coated in appearance, but quite bitter underneath…

Interview conducted by Ariel Schweitzer, april 29th 2004