Acomicandepisodicsatire,thefilmusesimprovisationtoillustratetheclashbetweenfantasyandrealityinreallifeAlthoughconceivedinthestyleofMekas'"Hallelujahthehills"1962,it'sanauthenticallyIsraelisatire,anopenlyrebelliousandindividualisticexpressionthatpokedfunatthesacredmythsofearlierzionistfilmsThetechniqueoffilmwithinthefilmisusedtoportraycinemaasreflectionoftheimagination,amiraclebasedondreamsandfantasiesthattakeonconcretecharacteristicsparalleltothemiracleofIsrael,thedreamthathasbecomerealityAlthoughnotacommercialsuccess,itsimportanceisbeyondanymeasure,thoughitremainsauniqueexperiment,boldlyuncommercialandsubversive,outofanycontextinthatpatriotic,ideologicalepoch                                     Anewimmigrant,Tzelnik,arrivesattheportofJaffaHegoestoliveintheNegevdesertwhereheopensakioskinthemiddleofnowhereMizrachicomesalongandopensacompetingbusinessacrossthewayThetwomakealivingbysellingtoeachotherAsthereisnothingthere,theydecidetocreateaworldoutoftheirimaginationTheybuildacardboardfilmset,whichslowlytakesonrealdimensionsthebuildingsturntoconcrete,peoplecometoauditionforpartsinthe"film"cinemaveritéstyle,withZoharmockingviciouslythepretensionsofthe"actresses"andbuilderscometobuildappartmentbuildingsmockingtheglorificationofconcreteand "heroic"settlementInonesequence,Arabactorscomeandaskthefilmmakersturnpositivetonegative,andthey'regiventheroleofpioneerswhoplowthelandandsingzionistsongsTheimaginedworldofthefilmmakersbecomessorealeventuallytheylosesightofthethinlinebetweenfantasyandreality                                     Alongthewaytherearealsomanyreferencestootherfilmsandgenres:thesamuraiflicksofKurosawa,westerns,thepopfilmsbyRichardlester,themealscenefromTomJonesandmanyothers                                     ThefilmwasmadebyabunchofverytalentedfriendsZohargathered,andtheyshotitwiththeirownfunds,asacollectiveflick,anotheraspectofitthatsetsitapartfromtherestoftheproductioninthecountry