Talitha Kumi

Smadar (45) cares daily for Shaul, a sick, obese, old man. But although she is the caregiver and he the patient, she is the one in need, and as her treatment of his body slips beyond its course, becoming intimate and sexual, the familiar becomes uncanny and the basic contract of their relationship is violated. Unprocessed, dissociative substances force their way into the room; self-imposing, offensive, and incomprehensible.

Director's statement
The desire for the traumatic memories not to tarnish the present is clear. But I have an opposite interest; to protect my past from the present, to keep it isolated and fenced, so that the present won’t touch it, won't reduce it into words or stain it with new understandings. My silence is my power. Words would only break the spell, make it real and ugly and what it was. But this way I can keep my experience within an abstract depth which is beyond words, so powerful that it becomes mythical.

Writing the script made me face the harsh realization of how deep I'm still trapped within that room. How does one wake up and leave? Do I even want to leave it? Can I handle the consequences and loss of leaving that room?

In Talitha Kumi, life itself moves to the background. What dominates the psyche is the emerging tsunami; what cannot be said or even thought is embodied in the room in a strong clear way. Reluctantly and against his will, Shaul becomes an active part in the reenactment of the past, and Smadar, who ceases to adapt, expresses for the first time her claim for recognition in a ruthless existence; the hurt, angry girl has awakened and is no longer detached.

Talitha Kumi is an Aramaic phrase found in the New Testament, in a story about a 12-year-old girl who became ill and died, and so Jesus came, took her by the hand and said “Talitha Kumi”, which means little girl, wake up!"" and the girl was resurrected.

Producer's statement
Talitha Kumi deals with an unspeakable trauma. It’s a daring script, which brings an authentic female point of view, directing us into the most exposed and painful areas of the human soul; the wound is open and bleeding and cannot be healed even if we desire so. The director, Hadar Morag doesn’t hesitate to bring us together with these places, which are sometimes difficult to digest but are an integral part of our soul.

I believe that the film holds an enormous emotional impact and has the ability to communicate and be identified with. The topic of the film is urgent, dealing with one of the most important issues of contemporary discussions. The film, due do its subject, crosses the boundaries of language and geographical place, it can exist and take place at any time and space.

Our budget is approximately 1M€. We have 300K€ confirmed from the Israeli Film Fund and we plan to raise in the coming year another 150K€ from Israel (regional funds, broadcaster). We’re aiming to co-produce with Germany, France and/or Poland. We believe that the project has a great co-production potential, taking into consideration shooting abroad, working with foreign crew, post-production etc.

Screenwriter's bio
Hadar Morag graduated with honors from Tel-Aviv University's Film Department. Wrote and directed SILENCE (Cinéfondation, Cannes), WHY HAST THOU FORSAKEN ME (Orizzonti, Venice). IT'S TIME YOU DIED ALREADY (first prize in Haifa IFF, Cinema South FF & Tel Aviv ISFF). Currently working on: TALITHA KUMI (Jerusalem FilmLab, Berlin 3 Months Residency, Berlinale Script Station); TZIPORA & RACHEL ARE NOT DEAD, (won DocAviv's roughcut Lab); THE METAMORPHOSIS (with guidance of Apichatpong Weerasethakul).

Director's bio
Hadar Morag graduated with honors from Tel-Aviv University's Film Department. Wrote and directed SILENCE (Cinéfondation, Cannes), WHY HAST THOU FORSAKEN ME (Orizzonti, Venice). IT'S TIME YOU DIED ALREADY (first prize in Haifa IFF, Cinema South FF & Tel Aviv ISFF). Currently working on: TALITHA KUMI (Jerusalem FilmLab, Berlin 3 Months Residency, Berlinale Script Station); TZIPORA & RACHEL ARE NOT DEAD, (won DocAviv's roughcut Lab); THE METAMORPHOSIS (with guidance of Apichatpong Weerasethakul).