Everlasting Mom

Not available for screening anymore

Everlasting Mom

Directed by Elinor Nechemya

  • Israel 2017; 14 min
  • Original version: Hebrew
  • Genre: Drama
    • Audience Award - Tel Aviv Student FF


A daughter's fantasy of her mother, elusively portrayed at her own magical house and garden. The mother's image and voice are deconstructed and assembled again into an intergenerational sonnet, reflecting the everlasting experience of being a woman, in a w orld of constant feminine evolution.

Director's Statement

First there was Mom, then me. That was the order, I'm sure of it.

I'm not quite sure about anything else. All is blurred and inconsistent. Where does she end and where do I start?

I know that in order to begin to understand her, I must travel far and reach her, I must study her character. Her figure. I must re - think her. It's important to keep this process open though, I cannot come determined. I must stay tuned to the voices emerging from the still images, to the silence erupting from her speech. To talk and to be seen both, one will alway s come at the expense of the other. I want all of her when she talks to me, her all when she shoots. From her images breaks through a voice I've never heard before. It's MOM as anyone never saw her anywhere else. She merely needs words. Bursting out of her are power, passion, tease, intensity; it's fear, or the mesmerizing lack of fear. It's pride, f lirt, authority. She's alive.

I give my mother a stage, a voice. Sure, We're both on the stage. It's mine as well. She makes it possible for me as much as I'm doing it for her. Who gets more of it? You cannot tell, It's an irrelevant question between parents and children. I push the line a bit further. The cinematic image leans on your ability to reflect your feelings from the object as an observation. My mothe r transforms to a window, a balcony, an observation on my deepest emotions towards her, towards significant woman that had crossed my life - as my Grandmother - and towards silenced issues in feminist discourse. My mother is a conflict, an oxymoron. The film wishes to reflect that complexity.

Today I read the narrative again, I read between the lines, completing the missing gaps. I see a woman who fought small battles , maybe not in a conventional - traditional way, but in a more radical manner. I always hav e the urge to explain to myself the choices she has made, to find reason for that and to understand her as her daughter and as a writer. The accelerated feminist revolution and the fast changes in women's positions have created an Intergenerational rift, a nd I can no longer identify with my mother's motivation. I don't wish to judge her, nor any other women for choices they have made in a disadvantaged position, but I do find a point in investigating the act of choice, of control and of introspection.



    Elinor Nechemya