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“You lack inner peace, I can see it in your eyes…” With this abrupt remark thrown at her by a woman visiting Jerusalem’s Wailing Wall, filmmaker Moran Ifergan is reminded of the religion she left in her late teens, when she used to frequent this holy site. While her marriage falls apart, Moran takes us on an around-the-clock journey to the women’s side of the Wall; mixing between private and public, sound and image, God and His absence.
Moran Ifergan, a 32-year-old filmmaker who grew up ultra-Orthodox and is now secular, says she also inhabits a strange middle ground that has brought turbulence to her personal life, but depth and clarity to her filmmaking. Her film, “The Wall,” explores the spirituality surrounding Israel’s sacred Western Wall, known to many Jewish pilgrims as the Wailing Wall.
“When I was religious, the Western Wall was like a second home,” she says. “When I left religion, I also had to leave the Western Wall, so when I go there now, it’s like (two places). I can see myself in the religious women there, but it’s not me — it’s the woman I could have been.”
Israel’s New Fund for Cinema and TV Cultivates Directors With Greenhouse Program
“The Wall” won the best film award at the 2017 DocAviv Festival, where the judges described it as “a film that investigates the tension between what is expected of us and what we want in life. It’s a film about a woman, a family, gender roles and the ways in which cultural, moral and religious conditioning dictate our lives.”
Her marriage in crisis, director finds solace filming at Western Wall