The film is set in a terrorizing world of the future, where technology commands the movements of individuals, supervised by the doctors, carrying out a program to improve the human race. Thus, instead of doctors creating a monster, the monsters are already there as the species of the future - but one of them is suspected by the doctors of being a human being. That is Golem in reverse.
A series of murders has shaken the community to the point where people believe that only a legendary creature from dark times – the mythical Golem – must be responsible.
A re-imagining of the old mystical folklore that follows a woman and a tight-knit Jewish community that is besieged by foreign invaders. She conjures a dangerous creature to protect them but it may be more evil than she ever imagined.
The man-made artificial intelligence GOLEM XIV faces its creators with a detached view of human nature and its culture.
In the 16th century, the Jews of Prague face persecution. Rabbi Loew creates a giant golem out of clay, to protect the people. This film should not be confused with director Paul Wegener's with Henrik Galeen 1915 mostly lost film The Golem (Der Golem) which was his first film to explore the myth.
In this version of the golem legend, the golem, a clay statue brought to life by Rabbi Loew in 16th century Prague to save the Jews from the ongoing brutal persecution by the city's rulers, is found in the rubble of an old synagogue in the 20th century. Brought to life by an antique dealer, the golem is used as a menial servant. Eventually falling in love with the dealer's wife, it goes on a murderous rampage when its love for her goes unanswered. This mostly lost film (please check your attic) is often confused with director Paul Wegener second and readily available interpretation of the legend; Der Golem, wie er in die Welt kam (1920).
The Golem, a giant creature created out of clay by a rabbi, comes to life in a time of trouble to protect the Jews of Prague from persecution.
When Romi, a lonely young girl, accidentally wakes up a dormant Golem - She finds out that even the purest of friendships can be endangered by personal demons.
Throughout the 1990s, Jiří Barta tried to find funding for a feature film called The Golem, but has thus far only managed to complete a short pilot film, released in 1993, though work on the feature is ongoing as of 2014.
A Miami TV reporter is sent to a local university to do a story on a professor who is cloning a cell from DNA found inside a meteorite. Soon after the reporter leaves, a gunman kills everyone in the professor's lab and steals the cell for a wealthy businessman. When the reporter learns that he is targeted for assassination as well, he enlists the help of two scientists to discover who is behind the crimes, why they stole the cell, and whether or not the cell should be allowed to continue living.
Based on a novel by Lilly Perry Amitai, Blind Man's Bluff takes a bittersweet look at the life of a young Israeli woman. Trying to distance herself from her Holocaust survivor parents and ex-boyfriend, pianist Micki Stav moves out of her parents' house in search of her own identity. She moves into a small apartment but remains caught in a lattice of demanding relationships. Tension increases as Micki tries to succeed in the classical music world. Her eclectic new neighbors, though, introduce her to a new world of desires in which Micki finds the courage to confront her problems and emerge as an independent and mature woman.
French TV adaptation of the Golem myth
Two (female) soldiers are alone in the Israeli desert as a part of their final Officers' school Exam - A land navigation. Things are getting complicated when one of them can't find her weapon.
Take some soil, knead it with water, and, together with a companion, chant certain combinations of the Hebrew alphabet. This formula, written down in the 3rd or 4th century, is essential for the creation of a golem -- an artificial person. For ten centuries golems thus created lived in the imaginations of their creators. After that they became corporeal presences that anyone could see. Still later golems could pose real dangers and had to be destroyed by their creators. The notion of the golem is persistent and still evolving. The Golem, an animated film, was created by drawing directly on clear film stock one frame at a time. There are over 6,000 individual drawings. The film's soundtrack is derived from the earliest manual for golem making; the brevity of the film allows concentration on the essentials of the story. Although every film is, in some sense, an interpretation, The Golem leaves ample room for viewers to find their own meaning.
An allegory of the Golem, a Jewish mythical creature personifying displacement and exile, this film tells the story of a woman (similar to the biblical Ruth) and her sisters, who are forced into exile after the death of their husbands. It is set in 1990s Paris, where the director was living in self-imposed exile following the ban on his 1982 documentary in Israel. The recurring theme of the film is migrations and unrooting, like the legendary Golem.
Lina and Naga, on their way to a town called Storner, robbed bad guys of their precious treasure. Storner was known as a town of "Gorlems" moved by magic power. And again the two were thrown into trouble by a girl called Leia. Galia, Leia's father, and Huey, her brother argued all the time and both are skilled "Gorlem" artisans. Lina and Naga were forced to face each other (each one inside a gorlem, Lina's one made by Galia and Naga's one made by Huey) by two villains, Heisen and Granion who were competing for supreme power over the town.
Upcoming science-fiction thriller directed by Dominik Graf.
Danny Cornish, a sort of stateless man who arranges art exhibits, is called from Tel Aviv to Paris with the news that a great uncle has died, in Birobidjan, the autonomous Jewish zone in Russia, leaving him a valuable art collection and the hand of a huge sculpture of a Golem. The uncle's will instructs Danny to find the rest of the statue, so Danny, who speaks no Russian, embarks on a trip that takes him (and the Golem's hand) to Moscow, St. Petersburg, and Siberia, fumbling with hotel clerks, taxi drivers, and bureaucrats, following leads, and making discoveries about myth, story telling, art, and hope.
With the feel of experimental film, Gitai mixes storytelling, readers' theater, cityscapes (usually seen from moving trains), and desolate landscapes to mediate on the act of creation. What if a golem were fashioned out of dirt, much like Adam, and came to life? The film imagines it, in the desert and in Moscow. Interspersed are stories of a 14th-century Tuscan artist's creation of a tower that plays music when the wind blows, of a film director, and of Jeremiah and Sirat. In what ways is making a movie like creating a golem?