TV Beats Co-Financing Market
Abduction of Yossele Schumacher
In the early 1960s, the abduction of a seven-year-old Jewish boy leads three women to clash over his fate and faith, and to a fierce conflict between the Israeli Mossad and the impenetrable global web of the ultra-Orthodox community.
The abduction of Yossele Schumacher by his ultra-Orthodox grandfather and his subsequent disappearance without a trace sends three women on a chase across the continents in search of the missing child. The boy's mother, Ida, a graceful woman lost in a battle with her father over her own son; the kidnapper, French-born Madeleine Feraille (aka Ruth Ben David, since she converted to Judaism after WW2); and a tough, emotionally damaged Mossad agent, Judith Avrahami, find themselves locked in a bitter struggle over motherhood, faith, fate, and loss. The search leads to an all-out war between the powerful Mossad and the anti-Zionist ultra-Orthodox worldwide web of believers and supporters.
Director's note
The incredible story of Yossele Schumacher's abduction was part of my childhood. It took us kids, and our parents, into a thrilling world of intrigue and emotion. Israel had no TV in those days, so this real-life thriller unfolded in front of us on the radio, in the press, in the weekly newsreels at the cinema, and over dinner at every house across the country - secular or Orthodox. It took the country by storm, and it got us hooked. We embarked on a global journey as we followed Yossele's trials and tribulations across Europe and the US, blending an intimate, painful drama within a powerful socio-political set-up, wrapped as a psychological thriller. It is about pain, love, parenthood, loss, faith, fanaticism, and about secrets and lies on so many levels.
It has amazing cinematic qualities, complex and charismatic characters, twists and turns, and mixes many of my favourite films and shows into what I feel will be a tour de force on so many levels. My visual approach would be accordingly: a blend of edgy, intense images, stylised design with a very precise colour palette, intimate camera work that explores the soul of our characters against a wide canvas that gets the best out of our fascinating locations. And while respecting the period in which our story is set, using an up-to-date approach to film-making techniques, editing style, and a rich soundtrack that reflects both the story and the period. This emotional and thrilling story was just waiting to be picked up, and I feel extremely lucky to be the one to bring it to a global audience and to make it accessible to all cultures and age groups. It has all the right ingredients to turn it into exciting and profound must-see television for everyone.
Eran Riklis
Producer's note
Our story is a multi-layered, edgy and agonising family drama, a thriller, a chase, a social and political clash, a character-driven story with edge-of-the-seat intensity that makes it must-see television.
Subjects:
based on a true story, society, social status

Eran Riklis (1954) graduated in 1984 as the first Israeli from the prestigious British National Film and Television School. His second film, “Cup Final” (1991), which deals with football and war, brought him international recognition. From then on, his films have frequently been showcased at the world’s leading film festivals, including Cannes and Berlin. Among the works of this top Israeli director are acclaimed films such as the tragicomedy “The Syrian Bride” (2004), the allegorical “Lemon Tree” (PÖFF 2008), and “Dancing Arabs” (PÖFF 2014), which explores ethnic relations. Riklis’s spy drama “Spider in the Web” (2019) was produced through a significant international collaboration, with Ben Kingsley and Monica Bellucci starring in the lead roles.
Tzomet volkan (Volcano Junction, 1999), Pituy (2002), The Syrian Bride (2004), Etz Limon (Sidrunipuu, PÖFF 2008), The Human Resources Manager (2010), Playoff (2011), Zaytoun (2012), Aravim rokdim (Tantsivad araablased, PÖFF 2014), Shelter (2017), Reading Lolita in Tehran (2024)

Eran Riklis (1954) graduated in 1984 as the first Israeli from the prestigious British National Film and Television School. His second film, “Cup Final” (1991), which deals with football and war, brought him international recognition. From then on, his films have frequently been showcased at the world’s leading film festivals, including Cannes and Berlin. Among the works of this top Israeli director are acclaimed films such as the tragicomedy “The Syrian Bride” (2004), the allegorical “Lemon Tree” (PÖFF 2008), and “Dancing Arabs” (PÖFF 2014), which explores ethnic relations. Riklis’s spy drama “Spider in the Web” (2019) was produced through a significant international collaboration, with Ben Kingsley and Monica Bellucci starring in the lead roles.
Tzomet volkan (Volcano Junction, 1999), Pituy (2002), The Syrian Bride (2004), Etz Limon (Sidrunipuu, PÖFF 2008), The Human Resources Manager (2010), Playoff (2011), Zaytoun (2012), Aravim rokdim (Tantsivad araablased, PÖFF 2014), Shelter (2017), Reading Lolita in Tehran (2024)

Eran Riklis (1954) graduated in 1984 as the first Israeli from the prestigious British National Film and Television School. His second film, “Cup Final” (1991), which deals with football and war, brought him international recognition. From then on, his films have frequently been showcased at the world’s leading film festivals, including Cannes and Berlin. Among the works of this top Israeli director are acclaimed films such as the tragicomedy “The Syrian Bride” (2004), the allegorical “Lemon Tree” (PÖFF 2008), and “Dancing Arabs” (PÖFF 2014), which explores ethnic relations. Riklis’s spy drama “Spider in the Web” (2019) was produced through a significant international collaboration, with Ben Kingsley and Monica Bellucci starring in the lead roles.
Tzomet volkan (Volcano Junction, 1999), Pituy (2002), The Syrian Bride (2004), Etz Limon (Sidrunipuu, PÖFF 2008), The Human Resources Manager (2010), Playoff (2011), Zaytoun (2012), Aravim rokdim (Tantsivad araablased, PÖFF 2014), Shelter (2017), Reading Lolita in Tehran (2024)