Issue #5

  1. Introducing TIKKUN/REPAIR

  2. Sanctuary

  3. "Iron Dome Listicle"

  4. Patterns

  5. The Diaspora of Poland-Palestine

  6. "Operation" and "Price of Entry"

  7. Three States of Gender Alchemy

  8. The Octopus

  9. Among Refugees Generation Y

  10. Tikkun Olam, or "small-z Zionism"?

  11. 29 Texts on Tikkun Olam

  12. The Problematics of Return

  13. Reading Reparation

  14. Tikkun Olam Today

  15. Stories of Demolition

  16. Work and Worship

  17. "Hevron" and "Mishna Ketubot 4:4"

  18. The Sign Under Which They Fight

  19. Cultivating Jewish "Ecotheology"

  20. Entropical Futures

  21. A Problem

A Problem

Yael Frank

Excerpt from A Problem, stop motion video, 8 min loop, 2018

Director: Yael Frank
Sound Design: Daniel Meir
Voice Actresses: Ana Amos Milo, Shelley Klein, Tamara Klingon
Photographer: Tome Bookshtein

Script for A Problem


LEFT: This is a film about a problem. A problem so big, that it’s hard to think of the right title. 

CENTER: Imagine a title such as “x” or “Love Birds”. 

LEFT: The main character in this film is a person of color. 

ALL: Any color. 

RIGHT: They struggle. 

CENTER: They’re angry. 

LEFT: They’re full of love. 

ALL: They are desperate. 

RIGHT: Try to watch this film as if it is addressed to you. So often we watch films about a problem and we feel that they are talking to someone else. 

LEFT: They are not. ALL: This one is talking to you.

CENTER: Now, you may think of this film that it’s accredited because it is about a problem. 

ALL: Wrong. 

CENTER: It is accredited because it is shot in a location so charged with history, culture, and pain, so torn by economic disparities, so uncertain about its future. 

LEFT: Often you will wonder if the filmmaker is fair to side with the people who are right. 

CENTER: Just wait for the end.

RIGHT: The problem of the place in the film is that it is ruled by the wrong people. It’s been like that for centuries. There used to be a time when it was ruled by the right people. But corruption, money, wars, 

ALL: and the United States of America 

RIGHT: caused it to slowly collapse into the poor state in which it is now. 

LEFT: When you are done watching this film we ask that you do not forget it as you are scrolling down your news feed. 

CENTER: Instead, make sure you share your shock and sorrow online. 

LEFT: And tag our fan page. 

CENTER: You will probably need more information, because we only provided you with what you need to reach the same conclusion as we did. 

RIGHT: Once you find additional information, 

LEFT: you will find that the satisfied feeling inside of you about the film starts to fade. 

CENTER: Too much information tends to inspire action, 

RIGHT: and both you and we know that 

ALL: you will do nothing. 

Embrace the nothing. 

LEFT: With our social media there is no need for action. 

RIGHT: The gathering of bodies in public space is dated, and people are slowly beginning to realize that. What we have now are tools of mass communication and as long as you are connected to the internet you are safe. 

LEFT: Places that are connected to the internet do not have a problem.   

The only thing that you will not like about this film is the end. 

CENTER: By the time you get there, you already forgot about the love birds, and about the female character. 

LEFT: The views of the place that you saw are fading from your memory. 

RIGHT: Next time you discuss this film you will talk of the problem. 

CENTER: You will mention the cast and the soundtrack, and complain that it uses politics to gain international recognition. 

ALL: It will occur to you that 

(begin loop) 

LEFT: This is a film about a problem. A problem so big, that it’s hard to…

Made with support from The Ostrovsky Family Fund, Artis Project Grant, Mifal Hapais Batarbut and the Tel Aviv Municipality Special Project Committee

Yael Frank (born 1982, Tel Aviv), is a multidisciplinary artist investigating power structures that are manifested through notions of happiness. Her projects are made with humorous, analog means and examine a fictional, anthropomorphized presence of political speech.