Netflix unveiled Sunday the trailer for the upcoming spy thriller "Heart of Stone" starring world-renowned Israeli actress Gal Gadot.

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The presentation took place in São Paulo, Brazil, where she was present alongside Jamie Dornan and Alia Bhatt.

In "Heart of Stone," Gal Gadot plays Rachel Stone, an elite intelligence officer who is part of a secret international organization called The Charter. This organization, which has no political or national allegiances, works to maintain world peace.

However, when The Charter's "heart," the source of its technological power, is stolen by the villainous Keya Dhawan (played by Bollywood star Bhatt), Rachel Stone embarks on a thrilling adventure that will take her all over the world to get it back.

This article was first published by i24NEWS.

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Jean-Luc Godard, the ingenious "enfant terrible" of the French New Wave who revolutionized popular cinema in 1960 with his debut feature "Breathless" and stood for years as one of the world's most vital and provocative directors has died. He was 91.

Swiss news agency ATS quoted Godard's partner, Anne-Marie Mieville, and her producers as saying he died peacefully and surrounded by his loved ones at his home in the Swiss town of Rolle, on Lake Geneva, on Tuesday.

French President Emmanuel Macron paid tribute to Godard as "the most iconoclastic of the New Wave directors" who "invented a resolutely modern, intensely free art form."

He added: "We have lost a national treasure, the eye of a genius."Godard defied convention over a long career that began in the 1950s as a film critic. He rewrote rules for camera, sound and narrative. His films propelled Jean-Paul Belmondo to stardom and his controversial modern nativity play "Hail Mary" grabbed headlines when Pope John Paul II denounced it in 1985.

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Netflix launched a "Palestinian Stories" film collection on its streaming service Wednesday. Subscribers will find 32 one-sided films that incite against IDF soldiers and the state of Israel and ignore Palestinian terrorism, with additional films added later on.

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The films offer a one-sided view of the Israeli-Palestinian conflict and include scenes depicting interrogation by Israeli security officials and life in a refugee camp.

In its announcement, Netflix quoted Palestinian director May Odeh, whose film "The Crossing" appears in the category, as saying: "I'm glad to finally have alternative Palestinian films accessible to wide audiences through Netflix. We all in the Palestinian film industry have been eager to share our narrative with the world through our authentic creative productions as an alternative to news reporting. I can't thank the team at Netflix and Front Row enough for the effort to make this happen."

Matan Peleg, the director of right-wing watchdog group Im Tirzu, suggested, "If Netflix wants to tell the Palestinian story, it should start by contacting the thousands of bereaved families who were impacted as a result of the murderous Palestinian terrorism. Netflix is following in the path of Ben & Jerry's [which announced plans to stop selling ice cream in Judea and Samaria] in a pathetic and shallow attempt to brainwash hundreds of millions of people. The result will be exactly the same as that of Ben & Jerry's – huge financial losses."

He continued: "Netflix isn't launching a category for the atrocities in Syria, where nearly one million people died over the last 10 years, or about the crimes in China. Israel is the only great criminal. We intend to call on the Israeli public and the Israel-supporting public around the world to boycott the company. We will not turn the other cheek. Those who hurt us will get hurt," he said.

Peleg offered the company the following advice: "Instead of creating vapid reality content alongside progressive content, maybe Netflix should try to present what is really happening in the Middle East. For shame!"

In a statement, the streaming service responded to the criticism by saying, "Netflix believes in artistic freedom and continuously invests in authentic stories from around the world. The collection of Palestinian stories will showcase the depth and variety of the Palestinian experience and explore people's lives, dreams, families, friendships, and love.

"Since its launch, Netflix has invested in dozens of Israeli TV shows and films and recently issued an official statement on Twitter and Instagram delineating its opposition to antisemitism in all its forms, including the worrying increase in hate crimes and Holocaust denial," Netflix said.

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From the movie screen, scholar and poet Marilyn Venig watched the changes taking place in Israel's ultra-Orthodox society. Venig, who embraced religion and joined the closed Belz Hassidic sect at age 20, Venig has followed Haredi film from its inception in the 1990s. Her first book, "Haredim Film" (Hebrew title), published about a decade ago, was groundbreaking in its field and redefined the unique Haredi film activity. Her latest book, title "Film of their Own" in Hebrew, is a continuation of that same research and focuses on a particular and intriguing side of the subject – the new wave of women in Haredi film. 

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"You need to be a juggler to produce research like this, you need to be very creative. Because I'm on the border between these two societies, I can take the position of a researcher and examine this world," Venig says. 

"You need to understand – Haredi film is flourishing. There are creators who have already come out with 12 titles, mothers of many children who have made 10 films and more. A regular film scholar has very methodic academic tools, but he doesn't know how to translate the Haredi language into 'secular.' There were a lot of factors that positioned me at the right timing. But it wasn't easy, because a lot of people are dismissive when a researcher is a Haredi woman, a mother of seven, married to a Torah scholar, who has an avant garde, creative approach and infects everyone with her enthusiasm. It strikes at something they hold dear." 

In her book, Venig exposes the unique intimacy and excitement that Haredi film in general and female Haredi film in particular create. In event venues, community centers, women of all ages – grandmothers, mothers, and children – gather to spend two hours watching thrillers and dramas produced by Haredi women. They learned the craft by practicing it, out of passion for pictures on screen, for breathtaking stories. That is a female space. If in Haredi literature, women writers need to take a male pseudonym in order to publish their books, in Haredi film men use women's names to present their films to women. Adherence to Jewish law is the law of Haredi art, but the very ability to tell a story, portray the fringes of the society and touch the people's heart in the most direct way possible opens the door to a new Haredi experience. 

"In Haredi films that present a male character, the protagonist is usually a widow, to avoid minefields of modesty," Venig explains. "Women's film completes the picture – it represents the woman's side of the Haredi story." 

In a closed society that keeps away from technological innovations and carefully chooses the content that will fill its few leisure hours, Haredi film offers a new approach toward the Haredi leadership. 

"One of the most amazing things about Haredi women's film is that no rabbi has ruled that filmmaking is allowed and should be done," Venig says. "There are even rabbis who have absolutely forbidden it. And still, it's become such a dominant phenomenon." 

She attributes the change to the vacuum left after a few major rabbinical figures, like Rabbi Shach or Rabbi Eliyashiv, left when they died. No spiritual leaders of their magnitude rose to take their places, and cultural phenomena make their way in from the street. Venig sees major social changes in the films themselves. 

"I see an immediate link between the changes that started in the second decade of Haredi film to the fact that women in the 21st century are seeking more college education. Some might say that there's no way of proving that, but we can clearly see that in the second decade of films there are more characters of female doctors, lawyers, politicians, and actually these are the fields that most women are studying now," she says. 

In the past decade, Venig has not stopped creating and working – as a poet, a film critic, a screenwriter, and a reader at film foundations are only some of her activities. Her husband, Erez, spends his days studying Torah at a kollel. 

"It seems to me to be supreme happiness to swim in a sea of books and words. Even now I'm envious of all the Torah scholars, whether it's my husband or my son. I'd be happy to be a Torah scholar myself," she laughs. 

"There's something inspiring about it, to delve into Torah, to write new things, without the burden and the existential and material struggles that shrink your soul. In general, books for us are like food. Even if we need to tighten our belts – we'll always buy books. There were periods when we were our children's friends' library. We always had all the new books – comics, Haredi books, literature." 

'I saw evil up close' 

She was born in Australia, made aliyah with her parents at age three, and attended the experimental school in Jerusalem, where she studied theater and art. 

"I was raised in a liberal home, a very clear secular reality, with a very clear route. But there was something in me that looked at the sky, stared at the stars. The first time I heard the word 'God' I didn't understand what it was. I asked them to explain it to me. It was so marvelous to me. I'd talk to him for hours through the window." 

From a young age, she wrote in newspapers for children and teens. "My father taught me to read at age three. I was a bookworm from a very young age," she says. She did her military service at the IDF's Bamachane newspaper, while also studying drama at the Nissan Nativ Acting Studio. At age 20 she embraced religion with her boyfriend, and they became Belz Hassids. While raising her family, Venig continued to create and initiate new projects. 

She established Haredi artistic frameworks such as an acting studio, as well as a drama track at a well-known girls' seminary, as well as founding an association of Haredi artists. Her first book, published in 2011, introduced Venig to the general public. She then published two books of poetry and became known as a critic. 

Currently, she is coming out with a new musical project titled "Subtext" with singer-songwriter Asi Meskin, and has been working on a few film scripts. 

Venig doesn't leave things in the idea stage. After her first book on Haredi film, she took up political work to promote her cultural vision. She was aiming for the film portfolio in the Jerusalem Municipality, so she joined forces with city councilman Ofer Berkowitz and ran on his list in the municipal elections. 

She was not aware that this decision would rock her world. The decision to run on a secular list stuck in the craw of Haredi society. 

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"I didn't look at it as a political move, rather as a way of helping filmmaking. That turned out to be a tragic mistake, because the move was seen as political. It caused a storm that shook up our world. A lot. So I dropped it very quickly. I'm not willing to mix outside matters with matters at home. The moment the decision shook up the lives of my entire family, I realized that it was a warning light. I saw evil from up close, it was a terrible experience," she says. 

Staying human 

Venig got to know another kind of political arena on committees and in foundations that support films. After the success of her book, then-Culture Minister Limor Livnat suggested she serve on the Israel Film Fund. Venig did so for four years, exerting an important influence on what was happening in Israeli film. 

Q: Some people complain about politicization in the organizations that provide support for films. Did you experience that? 

"At the time I was sort of an opposition. I wanted to change things and I acted out of ideology and integrity and a desire to listen. When I sit on a committee, I try to stick to the matters at hand. I got a lot of phone calls that tried to sway me in different directions, but I know that when it comes to these things, there are no games – either the film is good, or it isn't. You can't give money to something that is less than good, and that was my position. If there's a situation in which two films are equal in quality and I need to decide which gets support, I would prioritize a woman over a man, a minority over someone from the hegemony. But again, only if the two films are really high-quality." 

Q: Do you feel that you are paying a price for breaking down barriers in two societies – Haredi and secular? 

"I'm not part of any academic clique that will defend me. I'm not looking to be embraced by the Haredim or the secular, or for justification. I can say that despite publishing four books, and much proven activity on the ground, I'm not a candidate for prizes or important jobs, and I'm still fighting for my place in the establishment. And in general, it's easy to criticize when there's no competing literature in the field, when you're creating something from nothing, when there's no body of work to stand on. So if I'm honest, I sometimes lose confidence in myself and fall down. People are always talking about social variety and the status of women and pluralism – that's nonsense. Often, you're judged severely … see Diaspora Affairs Minister Omer Yakelevich or all the Haredi women who tried to achieve things. These are women who are judged disproportionately. We need to pave the way, with a lot of difficulty, a lot of struggle. It's a war of survival. They trample you and you need to scream."

Q: When you look at Haredi society and see the growing integration of media, can you see a change? Will media 'bring down' Haredi society? 

"Media won't defeat the Haredim, but boundaries are definitely changing. Back in my first book, I pointed out that through media, the wall of isolationism is becoming transparent. Haredi society has become more colorful in the past decade, and it is dealing with new challenges it didn't have in the past, primarily media challenges. The trends of people embracing religion and leaving the religious lifestyle which influence sectoral dynamics, as well as its film, have also changed unrecognizably, and all this demands re-thinking." 

Venig adds that "In the book, I also pointed out the fact that a lot of great leaders had died in the second decade of the 21st century, meaning that the character of the leadership is also in constant flux, and if the fence moves a few centimeters, it has an effect – particularly on the day-to-day reality, from disputes to division on the ordinary field where the haredi lifestyle meets Israeli-ism." 

Q: How did you experience the Mount Meron tragedy? 

"Unfortunately, what happened at Meron exposed a lot of hatred that exists toward Haredi people and their faith. There were people who found it difficult to separate valuing a human life and valuing the lifestyle, and removed themselves from a national tragedy in an inhumane manner. There is no heart that wasn't moved to introspection, except the ones made of stone. It's all right to ask why it happened at such a holy place and time, but where does all this evil come from? An evil person is certain he's right, that he is deserving, and he takes satisfaction in hurting others. Evil is normalized in many places. For some people, it's even part of their personality. So much so that you can encounter evil in cultured placed. What's absurd is that some people don't even notice their own evil, which has become socially normal.

"The children who have their hair cut [at Meron] are the precise symbol of the tragedy in my eyes. A symbol of the innocence of a person of faith, who wants to remain a child forever, clean and innocent. In that moment of ending, when the soul blossoms, with the Rashbi's bonfire and the Toldot Aharon dancing in the background, I want to believe that all the victims were like the children having their hair cut, innocent. And for us, maybe, that terrible death symbolizes the innocence that has been lost to the world and the human wisdom that is so lacking. 

"Time is God's whip and I notice that it passes quickly. Given the events, we can never know when we're at the end. I still believe that being human is the biggest success a person can ask out of life." 

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We all know about agencies for actors, athletes or models. However, a wholly different and first-of-its-kind agency was recently established – this time for members of the Mossad, the Shin Bet security agency, and other clandestine organizations in Israel and across the globe, with the aim of advising Hollywood film producers, actors and directors making spy movies.

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"A short while after the COVID crisis erupted, I got the idea to establish an agency," Avner Avraham, who served as a Mossad agent for 28 years, told Israel Hayom.

Discussing how he began recruiting people to launch his agency, Avraham said, "I have many connections in Israel and abroad. I reached out to interesting individuals from the world of security and espionage and they joined me."

The agency, named SPYLEGENDS, has signed many former Mossad, Shin Bet, IDF and Israel Police officials, such as former Shin Bet chief Yaakov Perry, former Mossad deputy director Ilan Mizrahi, former Mossad agents Yola Reitman and Mishka Ben-David, former IDF deputy chief of staff Maj. Gen. (ret.) Matan Vilnai and others, including from foreign intelligence services, such as former CIA agent Robert Baer.

Avraham, 54, who at the tail end of his Mossad career established the agency's museum and served as its director, was the chief consultant for the film "Operation Finale" about the capture of Adolf Eichmann, starring Ben Kingsley.

"I was approached several times with offers from film and television productions that came across the agency's website," recounts Avraham, "asking me to connect them with the right people to advise and help them with the details and look professional and credible on-screen."

According to Avraham, he cannot reveal what movies his company is advising. "Some movies are finished and others are in production. We are signed on non-disclosure agreements, so I can't elaborate on that," he says with a smile befitting someone who has spent a career keeping secrets.

With that, it's important for Avraham to note that beyond providing consulting services for Hollywood productions, his company also provides other services. "We give lectures in Israel and abroad, hold exhibitions, advise spy museums and commercial companies, promote the commemoration of the Holocaust and [legacy of] Zionism, sell lecture series to Jewish communities in the Diaspora, and we've even begun working with gadget stores in the United States."

Alongside former members of intelligence and security agencies, SPYLEGENDS also employs journalists, authors, screenwriters and actors and even family members of former spies and security officials.

"Avraham Cohen, who is the brother of Mossad hero Eli Cohen, also lectures within our framework. As does Michelle Bineth, the daughter of Max Bineth, who committed suicide in Egyptian prison; or Yossi (Yossele) Schuchmacher, who was kidnapped as a child by his grandfather and taken to New York and later returned by Mossad agents at the behest of [Israel's first prime minister David] Ben-Gurion."

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The mother-daughter drama "Asia" was named Best Picture at the Israeli Academy of Film and Television's Ophir Awards, automatically becoming Israel's entry in the Best International Feature category at the Oscars next spring.

"Unorthodox" Emmy nominee Shira Haas adds another accolade to her résumé with her win as Best Supporting Actress for the film, which won nine Ophirs, Best Actress (Alena Yiv) and Best Cinematography (Daniella Nowitz) among them.

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"Asia" tells the story of a Russian immigrant mother (Yiv) and her complex relationship with her ailing daughter (Haas).

"It's such an amazing script," Haas told the Jewish Journal earlier this year. "The daughter is sick, and it's their last time together. It's a depressing subject about death and grief, but it's more about life and their relationship. There's so much love and empathy in this movie."

It's the fifth Ophir nomination and second win for Haas, who won for "Pere Atzil" in 2018.

"Asia" had its world premiere at the Tribeca Film Festival last spring, where Haas won the Best Actress Award. She is currently shooting the latest season of "Unorthodox," which will premiere on Netflix in 2021.

Another big Ophir Award winner was "Here We Are," a father-son road trip story that took honors for its two actors, Shai Avivi and Noam Inber; director Nir Bergman; and screenwriter Dada Idisis.

Reprinted with permission from JNS.org.

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As one of the most fateful elections in US history approaches, Israel Hayom offers readers a  curated list of some of the best election-themed films and television series to binge until the exit polls are out.

State of the Nation (1948)

Frank Capra made a number of political films throughout his career, but only one dealt directly with a presidential election. In this drama-comedy, based on a Pulitzer Prize-winning play, an American aviation baron (Spencer Tracy) is persuaded by his scheming mistress (Angela Landsbury) to run for president.

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The War Room (1993)

The documentary by D.A. Pennebaker and Chris Hegedus follows Bill Clinton's first presidential campaign. The filmmakers began following the campaign long before Clinton became a favorite, and their behind-the-scenes look at the political machine leaves nothing to the imagination.

Bulworth (1998)

In this dark satire, Warren Beatty plays a senator who amazes his surroundings by adopting the persona of a rapper and starts to tell his voters the truth. Surprisingly, instead of killing his political career, his tactics bring him great success and he quickly becomes the most beloved politician in American and a leading candidate for president.

Swing Vote (2008)

Kevin Costner plays Bud Johnson, a single father from New Mexico who discovers that his vote, which was not counted, will determine an extraordinarily close presidential race. Both candidates rush to his town to convince him to vote for them.

The Ides of March (2011)

George Clooney produced, directed, and starred in this film about a Democratic governor who wants to win his party's nomination for president. He teams up with an idealistic young political advisor (Ryan Gosling), who slowly starts to realize that his hero might not be everything he is cracked up to be.

The West Wing (1999-2016)

This list would be incomplete without mentioning Aaron Sorkin's excellent series, one of the most-lauded TV series ever, which was awarded 26 Emmy prizes, including four for best dramatic series. Must-see TV!

House of Cards (2013-2018)

One of the original series that put Netflix on the map. House of Cards is an American version of a British TV series from the 1990s. As popular as the series was, it ended when star Kevin Spacey was ousted after public claims that he had sexually assaulted young men.

Veep (2012-2019)

Julia Louis Dreyfuss plays a vice president who dreams of becoming president. The series follows her entourage, a collection of colorful characters who are essentially a satirical take on actual figures from Washington. The series made it all the way through without specifying the main character's party, and won 17 Emmy awards during its run.

Scandal (2012-2018)

Creator of Grey's Anatomy Shonda Rhimes made another huge hit with series based on the dirty workings of Washington, DC with Scandal. Kerry Washington plays a fixer based on Judy Smith, who worked with President George W. Bush, who is involved in an affair with the president.

Commander in Chief (2005-2006)

Geena Davis plays Mackenzie Allen, a vice president who becomes the first woman president of the United States after the president dies.

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Afineevsky, a Russia-born Jew, depicts Francis as the great connector, and Francesco, which premiered at the Rome Film Festival on Wednesday, places the pope at the heart of a narrative that casts a wide net over some of the world's most pressing problems.

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"The main thread of this movie is more about us as human beings, who are creating disasters every day. And he [the pope] is the one who is connecting us through these threads," Afineevsky, now a US citizen, said in an interview.

Using the coronavirus as a launch pad, the two-hour film starts with footage of a deserted, rain slicked St. Peter's Square on the evening of March 27, when Francis led a surreal and solitary prayer service for relief from the rapidly spreading pandemic.

It then cuts to empty streets the world over to drive home the pope's message that "we are all in the same boat."

Afineevsky was nominated for an Oscar in 2016 for Winter on Fire, about the popular uprising in Ukraine. After Cries from Syria, a subsequent film on the civil war there, "brought me to the darkest side of humanity," he felt compelled to produce something uplifting.

"Just like Pope Francis brings attention to the horrible situation that we as humanity have created, I wanted to find hope, light and love and give this hope to people. Through his [the pope's] actions, I found this," he said.

"It's the story of us, and him helping us, understand these things."

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The film tackles other topical issues such as the growing rich-poor gap, racism, climate change, sexual abuse, migration, human trafficking, political polarization and relations between Christians, Muslims and Jews.

The viewer sees them through the pope's eyes, his pronouncements, his writings, his Tweets, his trips, and newspaper headlines. It also features Afineevsky's interviews with Francis and appearances by Catholic Church experts, refugees, sex abuse victims, a homosexual couple, a Holocaust survivor, rabbis and Moslems.

Footage of bombs in Syria, migrant boats sinking in the Mediterranean, typhoons in the Philippines, melting ice caps, the separation of families at the US Mexican border, a refugee camp in Greece, and blacks killed by police in the United States, are interspersed with papal comments.

While positive in its overall evaluation, the film avoids the overt hagiography of documentaries of Francis made by religious groups.

It highlights the fact that he completely misjudged the scale and severity of the Church's sexual abuse crisis, and that he later publicly recognized his mistake and apologized.

"It is beautiful to see a leader in his position, and just a humble human being, who is able to say: 'I am sorry, I am wrong,'" Afineevsky said.

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Journalist Sameera Khan tweeted that Gadot should be "ashamed."

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Still another outraged user of social media wrote, "The level of disrespect if unbelievable. You [Gadot] are ISRAELI. Portraying and ARAB figure. This is not going to end well."

Cleopatra − the last active ruler of the Ptolemaic Kingdom of Egypt − was not, in fact, Arab, as Egypt was not an Arab country in the 1st century BCE, when she ruled. Egypt was not conquered by the Arabs until the 7^th century CE.

Yet another Twitter user said he "couldn't wait to boycott this bullsh***."

One woman tweeted that Gadot's color was less of interest than the "problem" of "letting Israeli be involved in telling stories about Middle Eastern history."

A user named Johanna M. did not mince words and called Gadot a "genocidal Zionist" and a "basic bit*h."

On Monday, Gadot tweeted after announcing the project that she hoped that women and girls all over the world "who aspire to tell stories will never give up on their dreams and will make their voices heard, by and for other women."

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Cleopatra, a skilled multi-lingual ruler who was involved with both Julius Caesar and Mark Anthony, has become the stuff of legend and portrayed by stars such as Elizabeth Taylor, Monica Bellucci, and Angelina Jolie.

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The Paramount version of the Cleopatra story will be another collaboration between Gadot and Patty Jenkins, who directed Wonder Woman and its sequel, whose release has been repeatedly delayed by the COVID pandemic.

In addition to playing the lead role, Gadot is co-producing the Cleopatra film with her husband.

After the project was announced, Gadot wrote on Instagram: "I love embarking on new journeys, I love the excitement of new projects, the thrill of bringing new stories to life. Cleopatra is a story I wanted to tell for a very long time. Can't be more excited and grateful about this A team!!!"

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