DIRECTOR
DIRECTOR'S STATEMENT
Hounds is an extreme, grandiose 30-minute movie, in which regular, low status women are the stars. For one day, the museum guards (all of which are women) get to be the center of the action, and not just dumb dolls that stand in the corners of the halls. Hounds is a psychological thriller disguised as a black comedy; it tells the story of Iris, a woman who has always been a good girl, and yet life was constantly hard on her. One morning she is told that she is about to become a supervisor.
A very low-level supervisor, but still – a management position. Iris’s fate, however, intervenes, and the worst happens.
Hounds is a spiritual journey that discusses the fate of its heroine and other characters. Iris is a mature woman, who, for the first time in her life, is on track to achieve significant progress. Nevertheless, fate intervenes and brings everything back to its natural state, where any reward life has to offer, is simply out of her reach.
Although the movie opens optimistically, with a promise for a new future for Iris, this optimism brings with it the greatest and most significant lesson of her life. During this lesson, she will have to face the essence of her pure character, and decide whether to stain her conscience in order to progress.
The movie takes place at the day of an investigation of the worst museum crime that could happen – the breaking of one of the museum exhibits. We get to meet a colorful ensemble of women who are greater than any piece of art. Those are the women who usually stand aside and supervise while we visit the museum and gaze at art. They stand so still that sometimes we don’t notice them. These women turn out to be a group of lively, joyful, unconstrained, sensitive and curious women, who are also vulnerable and full of probably hopeless dreams. Today they are the stars, the whole museum their playing field. Today they are allowed to shout, curse, make noise, get mad and most importantly, take a look at themselves.
The museum management and the investigation team are presented as voice-only characters. We hear them through the announcement speaker system, without seeing them for a single moment. This enables us to look only at the heroine and the group of guards around her. The movie intends to be a penetrating close-up, entering as deeply as possible into those characters’ souls, while they must live with a distant, insensitive announcement system, which reminds them of living in a reality show. As if the museum has become a Big Brother episode for one day. For 30 minutes, the guards are the most important, splendid exhibits in the museum, while the movie serves as their Hyde Park. The movie is a psalm, which praises those simple workers and turns their small, transparent lives into poetry.
DIRECTOR BIOGRAPHY
Omer Tobi is a writer/director and was born in 1989 to parents of Moroccan and Tunisian origin. He has directed commercials and music videos for Israel’s top artists and his first drama series, commissioned by Israel’s largest broadcaster, is currently in production.
Tobi’s work as part of Arisa, a Tel-Aviv party collective which he founded, was lauded by Haaretz as “one of the most positive and optimistic changes to have occurred in Israeli culture in general”. His video work has been screened all over the globe - from Tokyo to the Sao Paolo Mix-Brasil Film Festival. He currently resides in Jaffa.
FILMOGRAPHY
Fuck Off Berlin, 13 min, 2013
Produced by Universal Music for Berlin Jewish Museum
Decadence, 14 minutes, 2007
Winner of Wim Van Leer prize for Best Short
at Jerusalem Film Festival
