Issue link: http://digital.copcomm.com/i/629850
48 P E R S P E C T I V E | M A R C H / A P R I L 2 0 1 6 were covered to create the look of shops of the time. Luxury and designer stores were inserted, giving a sharp background contrast to Fania. Each of the dramatized stories constitutes the private world which belongs exclusively to Fania and Amos. This magical world, representing Fania's highly inspirational personality, is created in a theatrical style which directly contrasts with the real life elsewhere in the fi lm. In one of the dream stories, Fania describes a woman who burned herself in a shack in her hometown of Rovno. This scene was designed with an opening pastoral effect to contrast dramatically with the ultimate shock of the fire. Color was the main design tool, and the environment darkens as Fania's state worsens. The appearance of Tel Aviv is the darkest in the script and the design of the film. It is a climax of darkness, a completely different world from Tel Aviv's famous White City, full of life and bathed in sunlight. In the movie, the sky is gloomy and overcast, dark, when Fania walks through a rainy night during the last moments of her life. A palette of black and dark grays creates the somber atmosphere. Set construction in the street necessitated closing working businesses. Here too, fronts were built, windows were inlaid and buildings "The tendency in Israel is to work horizontally. A professional will often wear more than one hat, and in extreme cases, can become the Mad Hatter." Top: An illustration of a dramatized scene of Fania, Amos' mother, telling him a story, highlighted on the screen in its pastoralism, open space and freshness in contrast to the dark, depressing room in which she sits when she tells him the story. The birds were added by digital composite to manufacture an ominous background noise. Below, left: A sketch of the burning cabin set by Gali Rosenbaum-Prat, filmed in the Hula Valley, a protected nature reserve. Below, right: A production still of the burning cabin, a dream sequence where Amos imagines rescuing his mother from a burning cabin. The film industry is a reflection of the place in which it exists, and therefore the Israeliness present in this film generates a different atmosphere from that of an American movie.