Your film deals with two young Israelis, one trying to escape compulsory military service. Why did you want to tell their story?
It’s easy to forget sometimes, that soldiers are teenagers. They get drafted at 18, and being expected to abruptly cut off their adolescence. I wanted to present the discord of the teenage soldier, that of normal and candid raw impulses in an atmosphere of duty and discipline. I tried to capture an experience of the army, that is well known in Israel but under spoken, of not-wanting-to-be-there. Not because of noble Ideologies but because of precious youth.    

Do you try, through your films, to portray a new generation that through its refusal of compulsory military service hopes for a different future?
Through my film I try to convey the tension between the compulsory social standard of the military service in Israel and the desire for free will and liberty in the last years of youth. I think that this tension underlies social struggles within the Israeli society. I’m not sure I speak for or present a whole generation, but I’m certainly hoping for a much different future, even if it’s harder than ever to imagine with the current regime. 

What turned out to be the hardest part for you while making the film and why?
The film was shot between Covid-19 lockouts, which was extremely difficult for many logistic reasons. But the hardest part was the casting. We had to find actors with the potential to have a fluid gender look. We auditioned both males and females actors for both main parts. Than we mixed and matched those we liked in different variations. It was a long process and it was more challenging than usual, but also very unique and we are very happy with the decision of the cast. 

How did you work with the actors in terms of character development?
The first phase of development for each character was to try and convey the fluidity of gender. An essential part of the film was to create a story with minimum information about the protagonists. The social-class, history and most significant- their gender is not obvious. We had to work on movement and speech. We had to create a dialog that will not disclose gender but will still be natural and fluent. I asked the actors to decide for themselves what gender their characters are, but not to tell me or one another. Because they are not confused, but we are.

What’s your favourite short?
Well, I can’t choose a favourite film, it’s an impossible task. But I can choose a film that somehow helped me with the making of my short film. While working and struggling with the script, I got a recommendation to watch Chantal Akerman’s short film I’m Hungry, I’m Cold (J’ai faim, j’ai froid). It helped me to allow myself to feel free with ambiguity of the characters, their motives and the plot in general. It has a special rhythm and a weird sense of humour. I love it and recommend to watch and rewatch again every once in a while.

What does the Festival mean to you?
I’ve known of Clermont-Ferrand Short Film Festival since I made my first short film 12 years ago. It was always in the top of the submission list of my films and this is the first time I have a chance to participate and visit the Festival. It’s obviously a big landmark and I allow myself to be very proud of me.

Hafra’at Hitmotetut Hamoshava [Colony Collapse Disorder] is being shown as part of the International Competition I11.