פנטסיה

Amos Noy draws on Ursula K. Le Guin and Tove Jansson to battle despair through describing the close connection between hope and imagination as a remedy for it.

Shortly before the wave of Israeli horror films, it was in the Death of Peace films from the early 2000s that Utin found dimensions of fantasy, surrealism, and fairy tales. In fact, it is the combination of these elements within a realistic, often hyper-realistic, and frequently cruel and bloody world or story that transforms these films into touching elegies, eulogies to vanished hopes for peace. Utin takes a deep dive into the comic book imagery and children's fairy tales in the “Requiem” films, finds a little bit of hope in imagination and calls for action.

In June 1926, some 5,000 people gathered to watch a show trial in the center of the first Hebrew city, Tel Aviv. The defendant was the iconic play The Dybbuk. Its fantastical and unrealistic dimensions were the center of the discussion. The trial exposed the threat that these elements posed to Israeli society and its young, emerging culture, but also the potential they held.