– Nizar Hassan –

I am writing this letter due to the reason that Efrat was one of my most beloved students whom I taught for four years. I have no intention to write any kind of critic about Ben Zaken. Mine is a thankful writing. My relationship with Efrat was always filled with strong emotions. There were times she hated me. Her class mates can still remember the second term of their last year; she was impossible. I was never mad at her, never stopped thinking she is one of the best, and that very soon- she would make good films. Even during the time I was one of the few who believed in her. I waited for a long time… The time had come and this is Efrat’s first film- as an independent graduate student from Sapir film school- SHE MADE IT!
When she called me up a couple of months ago, to watch her final-cut- I was moved and anxious. Once the film had started, I was completely occupied by the images of the story, the emotions and the creatures. I loved it. I was watching smiling and proud: proud of Efrat. I told her my critic and I don’t think I wish to share it with the public. But I will share with the public what I never asked her about the film: the child’s mother wasn’t there- she was missing. I never asked Efrat where was she. Great films are the ones who forces us to notice the “missing” and to imaging the “missing” all the way, through watching and after the film had ended. Efrat succeeded with doing this- with the big question about the mother.
In every shot, in every dialogue, in every movement, I was looking for the mother, asking- where is she? How does it relates to the weakness of the father, and to the tension between the daughter and her grandmother? With a fantastic cinema, and with a surprising, amazing cast, Efrat made a film that’s a mixture of cruelness understanding love. She had touched something magical.