Sat 18 February 2023 | 8:00 pm - 11:00 pm
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Jรธrgen Leth is not a well-known filmmaker in Israel, but in Denmark and Europe he was a legendary figure, in particular his short film โ€œThe Perfect Humanโ€ (1967). Lars von Trier, his student and admirer, turns to him and asks him to remake the film five times, each time von Trier imposes a different constraint on him. Leth accepted the task, and the film โ€œThe Five Obstructionsโ€ is a record of the conversations between them, with the imposition of the constraint, the production of the short film, the presentation of a scene from it, and their reactions.

The amused atmosphere alongside the male power play creates fun viewing, but behind it there is a discussion about a work under constraints: what is the analogy between it and psychological therapy, is it technical or emotional, and what is the magic in such a work. It is understood that the film alludes to (or excuses and rationalizes) the Example 95 movement, of filmmakers who try to create an alternative to Hollywood consumer cinema.

The Five Obstructions Denmark 2003 | Lars von Trier andย Jรธrgen Leth| 103 minutes Danish and French with English translation

Location: Ahad Haโ€™Am St 70, Tel Aviv-Yafo

ื™ื•ืจื’ืŸ ืœืช’ ืื™ื ื• ื™ื•ืฆืจ ืงื•ืœื ื•ืข ืžื•ื›ืจ ื‘ื™ืฉืจืืœ, ืื‘ืœ ื‘ื“ื ืžืจืง ื•ื‘ืื™ืจื•ืคื” ื”ื™ื” ื“ืžื•ืช ืื’ื“ื™ืช, ื•ื‘ืคืจื˜ ืกืจื˜ื• ื”ืงืฆืจ “ื”ืื“ื ื”ืžื•ืฉืœื” (1967). ืœืืจืก ืคื•ืŸ-ื˜ืจื™ื™ืจ, ืชืœืžื™ื“ื• ื•ืžืขืจื™ืฆื•, ืคื•ื ื” ืืœื™ื• ื•ืžื‘ืงืฉ ืžืžื ื• ืœื™ืฆื•ืจ ืžื—ื“ืฉ ืืช ื”ืกืจื˜ ื—ืžืฉ ืคืขืžื™ื, ื›ืฉื‘ื›ืœ ืคืขื ืžื˜ื™ืœ ืขืœื™ื• ืคื•ืŸ-ื˜ืจื™ื™ืจ ืื™ืœื•ืฅ ืื—ืจ. ืœืช’ ื ืขื ื” ืœืžืฉื™ืžื”, ื•ื”ืกืจื˜ “ื—ืžืฉ ื”ืžื›ืฉืœื•ืช” ื”ื•ื ืชื™ืขื•ื“ ืฉืœ ื”ืฉื™ื—ื•ืช ื‘ื™ื ื™ื”ื, ืขื ื”ื˜ืœืช ื”ืื™ืœื•ืฅ, ื”ืคืงืช ื”ืกืจื˜ ื”ืงืฆืจ, ื”ืฆื’ืช ืกืฆื ื” ืžืžื ื•, ื•ืชื’ื•ื‘ื•ืชื™ื”ื.

ื”ืื•ื•ื™ืจื” ื”ืžืฉื•ืขืฉืขืช ืœืฆื“ ืžืฉื—ืง ื”ื›ื•ื—ื•ืช ื”ื’ื‘ืจื™ ื™ื•ืฆืจืช ืฆืคื™ื™ื” ื›ื™ื™ืคื™ืช, ืื‘ืœ ืžืื—ื•ืจื™ื” ืžืชื ื”ืœ ื“ื™ื•ืŸ ืขืœ ื™ืฆื™ืจื” ืชื—ืช ืื™ืœื•ืฆื™ื: ืžื”ื• ื”ื“ื™ืžื™ื•ืŸ ื‘ื™ื ื” ืœื‘ื™ืŸ ื˜ื™ืคื•ืœ ืคืกื™ื›ื•ืœื•ื’ื™, ื”ืื ื”ื™ื ื˜ื›ื ื™ืช ืื• ืจื’ืฉื™ืช, ื•ืžื”ื• ื”ืงืกื ื‘ื™ืฆื™ืจื” ืฉื›ื–ื•. ืžื•ื‘ืŸ ืฉื”ืกืจื˜ ืจื•ืžื– ืœ-(ืื• ืžืชืจืฅ ื•ืžื ืžืง ืืช) ืชื ื•ืขืช ื“ื•ื’ืžื” 95, ืฉืœ ืงื•ืœื ื•ืขื ื™ื ืฉืžื ืกื™ื ืœื™ืฆื•ืจ ืืœื˜ืจื ื˜ื™ื‘ื” ืœืงื•ืœื ื•ืข ื”ืฆืจื™ื›ื” ื”ื”ื•ืœื™ื•ื•ื“ื™. ื™ื—ื“ ืขื ื–ืืช, ื”ืจืขื™ื•ืŸ ื”ื–ื”, ืฉืœ ืฉื—ื–ื•ืจ ื™ืฆื™ืจื” ื‘ืืžืฆืขื•ืช ืื™ืœื•ืฆื™ื ืฉื•ื ื™ื, ืžืขืœื” ื‘ืื•ื‘ ื’ื ืืช ืกืคืจื• ืฉืœ ืจืžื•ืŸ ืงื ื•, ืชืจื’ื™ืœื™ื ื‘ืกื’ื ื•ืŸ (1947), ืฉื”ื•ื‘ื™ืœ ืœื”ืงืžืช ืื•ืœื™ืคื• – ื”ืชื ื•ืขื” ื”ืกืคืจื•ืชื™ืช ื”ืžืฉืคื™ืขื”.
ื‘ืจื•ื— ืชื ื•ืขืช ื”ืื•ืœื™ืคื• ื”ืžืฉื•ืจืจ ืขืจืŸ ื”ื“ืก ื™ื“ื‘ืจ ืขืœ ื”ืืคืฉืจื•ื™ื•ืช ื”ืžืชืžื˜ื™ื•ืช ืฉืœ ื”ืืžื ื•ืช.

ื—ืžืฉ ื”ืžื›ืฉืœื•ืช| ื“ื ืžืจืง| 2003| ืœืืจืก ืคื•ืŸ ื˜ืจื™ื™ืจ ื•ื™ื•ืจื’ืŸ ืœืช’| 103 ื“ืงื•ืช| ื“ื ื™ืช ื•ืฆืจืคืชื™ืช ืขื ืชืจื’ื•ื ืœืื ื’ืœื™ืช
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