Bad Blood Bad Blood Screenwriter: Or Levy Berger Producer: Osnat Saraga , Paramount Israel (Ananey Studios) Language: Hebrew Format: 8 Episodes x 35 Minutes Send PITCHDECK LOGLINE Ellie swore she’d never return to her hometown. But when her ex-bestie reopens the murder case that shattered their lives, she has to join the investigation. Because after all, Ellie is the killer. SYNOPSIS Ellie (38) doesn’t want to be here. She left her hometown as a rejected young woman with a big mouth and a dominant jawline. Now she’s back with the same big mouth and a jawline that cost her the last of her savings. And it’s all because Zohar (38) decided to stir up the past. As Zohar starts planning the special 20-year memorial of Dror Peretz’s death, she can’t shake the feeling she has had for years: something’s off. Sure, the police called it a tragic self-inflicted accident, but Dror was a star athlete, an outstanding student, and a really hot guy. Guys like him don’t just turn up half-naked and completely dead inside the trunk of their own car after a Purim costume party. And for Zohar, it’s personal. Dror was her husband Yiftach’s (38) adored older brother. Zohar is determined to reveal Dror’s real killer at the memorial event, taking place in one month. When Ellie gets a thrilled message from Zohar about her new investigation, she thinks it would be easy to talk her out of it. But Zohar is too stubborn, and Ellie realizes the only way to derail the case is to get on a plane and join it. Zohar has no idea that Ellie, the new Watson to her Sherlock, is the very person she’s trying to hunt down. And since Ellie’s already forced into what’s basically a never-ending high school reunion with the people who made her teenage years a living hell, she figures, why not use this opportunity to settle some scores and get revenge? Bad Blood, based on the graphic novel by Tamar Blumenfeld, is a dark detective comedy that pairs up the detective and the murderer, two ex-best friends, as they each confront the defining trauma that shaped their lives. It’s not a “whodunit”, but a “whydunit”. For Ellie, it’s also a coming-of-age story for someone who’s long overdue for one. She will have to finally stop using the past as an excuse and face the sins she’s worked so hard to bury. WRITER'S STATEMENT At first glance, Ellie is everything I want to be. Shameless, unapologetic, someone who knows her worth. But the more time I spent with her, I realized I’m not drawn to Ellie because she’s brave, but because she’s terrified. She’s constantly dodging responsibility, constantly refusing to grow up. And as much as it sucks to admit, I totally get that. I get not wanting to move forward. We live in a time when we’re finally, rightfully, shifting blame off victims and onto the people who wronged them. But sometimes it just feels good to be the victim. There’s comfort in it. The pain becomes a shield, a way to avoid risk, responsibility, growth. Victimhood is a hell of a drug, and a damn good excuse to stay in your comfort zone. It’s also a great way to escape accountability. As viewers try to understand Ellie and her actions, Ellie herself is undergoing a belated coming-of-age journey of her own. Even though Dror’s death occurred while she was trying to protect Zohar, and could technically be considered self-defense, Ellie still perceives herself as a murderer. That black-and-white view of herself is part of her defense mechanism. It reflects an inability to hold complexity and a method of avoiding true accountability. It’s easier for Ellie to see herself as a monster than to confront the messy truth. She prefers to stay in “everything happens to me” mode and let her trauma take the wheel as she plays the role of the child who is not responsible for anything. Ellie’s arc in the season demands that she stop running from that complexity and admit that during those awful, confusing moments, she killed Dror not only to save her friend but also because she was jealous of her. As horrifying as it sounds, Ellie envied the fact that Zohar was the one Dror chose as his victim, rather than her. Only when Ellie faces up to that truth and really owns it, can she finally move on. ABOUT THE WRITER Or Levy Berger is a screenwriter, director, and ginger. Graduated with honors as a screenwriting major from the Jerusalem Sam Spiegel Film School. Or was the head writer for Flashback Studio (Studio Amatzia, 2024+), a children’s comedy series that combines a live-action sitcom with anime-style animation, which aired on Kan Kids (Israeli Public Broadcasting). She also wrote for various other comedy series, including My Nephew from Hell and Bed & Biscuit. Or feels very self-conscious when she needs to write about herself in the third person, but she guesses that’s part of the format. PRODUCER'S STATEMENT "Bad Blood" expresses the voice of a generation. It is told through the perspective of a creator who belongs exactly to this generation of 30-somethings. The story reckons with the complexities of youth- its transgressions and the powerful, polar extremes ranging from deep insecurity and inferiority complexes to reckless overconfidence. Ellie tried to help Zohar but committed a "sin": she withheld critical information that could have completely transformed Zohar’s life, all under the guise of wanting to protect her. Zohar was raped without knowing she was raped. This raises a profound question: do we truly want to know the truths that could shatter the world we think we know and control? I believe this story, with its unique voice, is both universal and timeless. Yet, it remains specifically attuned to today’s 30-somethings and their capacity to face reality. This is a series that will be "must-watch" television in every home. PRODUCER PROFILE Ananey Studios, a Paramount company, is an award-winning studio that specializes in developing and producing innovative content across a wide range of genres and target audiences, including high-concept dramas, documentaries, live-action preschool shows, kids' and teen series, sitcoms, animation, lifestyle programs, and formats. Ananey Studios' portfolio includes productions that have reached major international platforms such as Netflix, Nickelodeon, MTV, CBBC, and HBO. Our productions uphold the highest standards and showcase the richness and diversity of Israeli storytelling, both within the Israeli market and globally. Notable productions include: Band of Spies (co-production with Paramount), Fireflies for HOT and Paramount+, On Our Own (five seasons) for Kan Kids, Malevolent Bride for Kan (commissioned by A&E), Telling Nuni, an award-winning documentary, and many others. PRODUCTION CONTACT DETAILS Osnat.Saraga@paramount.com Back To Participants PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS 3RD EDITION SERIES CATALOGUE 3RD EDITION PARTICIPANTS AND PROJECTS JURY MENTORS TEAM

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Plus Size Add a Title Add a Title Send Send Chilik Michaeli Producers: Erez Tadmor , Sharon Maymon Plus Size Lab Edition 4 2025 PITCH LOGLINE Four women from a run-down suburb rebel against sexism and the dictatorship of thinness, by forming a women’s sumo team, rocking their conservative town and redefining love and self-worth. SYNOPSIS Bat-El Messika - the daughter of Israel’s first sumo wrestler - is under pressure. Her parents and fiancé expect her to lose enough weight to fit into a wedding dress by undergoing gastric bypass surgery. Instead of complying, Bat-El rebels: she escapes the operating table and starts an all-female sumo wrestling group for plus-size women like herself. As Bat-El attempts to build a “normal life” with her devoted partner, Haim Bachar - a loving and dependable man - her carefully balanced world is shaken by the unexpected return of Maya, the woman who once bullied her as a child. When Maya joins the sumo group, Bat-El is forced to confront her past. What begins as unresolved tension evolves into an intense emotional and sexual attraction, pushing Bat-El toward a painful choice: social security, marriage, and conformity - or desire for another woman and a journey of self-discovery. In parallel, a second romantic storyline unfolds. Bat-El’s father, Herzl, becomes the group’s coach and clings to physical strength and honor in a desperate attempt to win back his ex-wife, Zehava - Bat-El’s mother. But Zehava is now dating Aharon, Herzl’s former sumo rival turned diet guru - and Maya’s controlling father. When the group receives an opportunity to represent Israel in an amateur sumo competition in Japan - all conflicts erupt at a boiling point - only one wrestler will earn the right to travel to Japan as Israel’s sole representative. Between wedding dress fittings that end in rips, a secret affair with Maya hidden from her fiancé Haim, extreme diets that implode, and sumo matches that end in heated ties, Bat-El realizes that a safe life is suffocating her, and like in a classic romantic comedy, just before stepping into the ring for the decisive sumo tournament, she gives up the sumo competition and runs to the airport, still in her sumo underwear, to stop Maya from leaving. WRITER'S STATEMENT “Plus Size” continues the spirit of our earlier work, this time through the form of powerful, fearless, plus-size women who break into the Israeli sumo arena. This is a romantic comedy series about liberation from the conditioning of body image. Our heroine, Bat-El, who frees herself from the dictates of body image, realizes that now it is also the time to free herself from another form of restricting conditioning- marriage, weddings, and the prescriptions of the "right life". The wrestling group is composed of four plus-size women -intelligent, humorous, sexy, and groundbreaking-just as women in the past broke into sports once reserved for men, such as soccer, basketball, boxing, freestyle wrestling, pole vaulting, weightlifting, ice hockey, and more. This time, it is sumo’s turn. The artistic intention is to combine sharp, bold humor with exposed emotion, exposed skin. The dynamic between Bat-El and Maya moves between athletic rivalry and romantic attraction, and between a wounded past and a surprising present - along a tonal axis that shifts from funny, to painful, to moving. The visual design will blend traditional Japanese aesthetics - the cleanliness and precision of a Japanese restaurant, and the delicate, matchstick-like quality of forest trees - with the vibrant colors of contemporary rural city in Israel . Sumo garments, the coach’s black attire, and traditional Japanese red will merge with forest green and shifting lighting. This visual contrast will serve the tone of this romantic comedy, where heightened color, physical presence, and moments of visual exaggeration support both humor and emotional intimacy, allowing tenderness, desire, and vulnerability to emerge through movement, touch, and the charged space of the ring. PRODUCER'S STATEMENT Plus Size is a fresh funny romantic comedy, bold, and emotionally rich new TV series currently in development. At its heart is the story of a group of women who decide to challenge the expectations placed on their bodies, their desires, and their right to define themselves. What begins as a personal journey for each of them gradually evolves into a warm, funny, and deeply human romantic comedy, anchored by an impossible three way love story that pushes them to confront who they truly are. For us as producers, this project is both a privilege and a creative joy. It offers a rare opportunity to reconnect with the remarkable talents of Sharon Maymon and Erez Tadmor, artists we know, trust, and admire. Their ability to blend humor, heart, and authentic emotion has created a world in which the story, characters, and tone come together to form something greater than the sum of all of the parts creating it. We are genuinely excited about Plus Size and confident that it will grow into a successful, engaging, and widely loved television series. 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Plus Size Plus Size Screenwriters: Sharon Maymon, Erez Tadmor Producer: Chilik Michaeli , United Channels Movies (UCM) Language: Hebrew, Japanese Format: 6 Episodes x 45 Minutes Send PITCHDECK LOGLINE Four women from a run-down suburb rebel against sexism and the dictatorship of thinness, by forming a women’s sumo team, rocking their conservative town and redefining love and self-worth. SYNOPSIS Bat-El Messika - the daughter of Israel’s first sumo wrestler - is under pressure. Her parents and fiancé expect her to lose enough weight to fit into a wedding dress by undergoing gastric bypass surgery. Instead of complying, Bat-El rebels: she escapes the operating table and starts an all-female sumo wrestling group for plus-size women like herself. As Bat-El attempts to build a “normal life” with her devoted partner, Haim Bachar - a loving and dependable man - her carefully balanced world is shaken by the unexpected return of Maya, the woman who once bullied her as a child. When Maya joins the sumo group, Bat-El is forced to confront her past. What begins as unresolved tension evolves into an intense emotional and sexual attraction, pushing Bat-El toward a painful choice: social security, marriage, and conformity - or desire for another woman and a journey of self-discovery. In parallel, a second romantic storyline unfolds. Bat-El’s father, Herzl, becomes the group’s coach and clings to physical strength and honor in a desperate attempt to win back his ex-wife, Zehava - Bat-El’s mother. But Zehava is now dating Aharon, Herzl’s former sumo rival turned diet guru - and Maya’s controlling father. When the group receives an opportunity to represent Israel in an amateur sumo competition in Japan - all conflicts erupt at a boiling point - only one wrestler will earn the right to travel to Japan as Israel’s sole representative. Between wedding dress fittings that end in rips, a secret affair with Maya hidden from her fiancé Haim, extreme diets that implode, and sumo matches that end in heated ties, Bat-El realizes that a safe life is suffocating her, and like in a classic romantic comedy, just before stepping into the ring for the decisive sumo tournament, she gives up the sumo competition and runs to the airport, still in her sumo underwear, to stop Maya from leaving. WRITER'S STATEMENT “Plus Size” continues the spirit of our earlier work, this time through the form of powerful, fearless, plus-size women who break into the Israeli sumo arena. This is a romantic comedy series about liberation from the conditioning of body image. Our heroine, Bat-El, who frees herself from the dictates of body image, realizes that now it is also the time to free herself from another form of restricting conditioning- marriage, weddings, and the prescriptions of the "right life". The wrestling group is composed of four plus-size women -intelligent, humorous, sexy, and groundbreaking-just as women in the past broke into sports once reserved for men, such as soccer, basketball, boxing, freestyle wrestling, pole vaulting, weightlifting, ice hockey, and more. This time, it is sumo’s turn. The artistic intention is to combine sharp, bold humor with exposed emotion, exposed skin. The dynamic between Bat-El and Maya moves between athletic rivalry and romantic attraction, and between a wounded past and a surprising present - along a tonal axis that shifts from funny, to painful, to moving. The visual design will blend traditional Japanese aesthetics - the cleanliness and precision of a Japanese restaurant, and the delicate, matchstick-like quality of forest trees - with the vibrant colors of contemporary rural city in Israel . Sumo garments, the coach’s black attire, and traditional Japanese red will merge with forest green and shifting lighting. This visual contrast will serve the tone of this romantic comedy, where heightened color, physical presence, and moments of visual exaggeration support both humor and emotional intimacy, allowing tenderness, desire, and vulnerability to emerge through movement, touch, and the charged space of the ring. ABOUT THE WRITERS Erez Tadmor is a writer and director of several feature films, including Wounded Land that won three Israeli Academy Awards in 2015, among them Best Director. He directed the films Matchmaking and Matchmaking 2 that became amongst Israel's biggest box-office hits. In 2023 he directed Children of Nobody which won at the Kolkata International Film Festival. Amongst his other films: The Art of Waiting (2019) Home Port (2016) and Soda (2024), which premiered at the Venice Film Festival. Together with Guy Nattiv, Tadmor also co-wrote and directed Magic Men (2014) and Strangers (2007), screened at Sundance. Sharon Maymon is a writer and director. He co-wrote the Academy Award (Oscar) winning short film Skin (2019). Maymon co-wrote and directed the TV series The Worst Best Thing (Keshet 12) Together with Tal Granit. In addition, he co-wrote and directed three feature films and two short films: My Happy Ending (2023) released in theaters in the U.S.; Flawless (2018) that was screened at Tribeca Film Festival; The Farewell Party (2014) that was screened at Venice and Toronto International Film Festival; Summer Vacation (2011) screened at Sundance, and To Kill a Bumblebee (2009) screened at Locarno Film Festival (2010). Sharon also co-directed A Matter of Size (2009) with Erez Tadmor - that premiered at Tribeca Film Festival. PRODUCER'S STATEMENT Plus Size is a fresh funny romantic comedy, bold, and emotionally rich new TV series currently in development. At its heart is the story of a group of women who decide to challenge the expectations placed on their bodies, their desires, and their right to define themselves. What begins as a personal journey for each of them gradually evolves into a warm, funny, and deeply human romantic comedy, anchored by an impossible three way love story that pushes them to confront who they truly are. For us as producers, this project is both a privilege and a creative joy. It offers a rare opportunity to reconnect with the remarkable talents of Sharon Maymon and Erez Tadmor, artists we know, trust, and admire. Their ability to blend humor, heart, and authentic emotion has created a world in which the story, characters, and tone come together to form something greater than the sum of all of the parts creating it. We are genuinely excited about Plus Size and confident that it will grow into a successful, engaging, and widely loved television series. PRODUCER PROFILE United Channels Movies (UCM) Founded by Chilik Michaeli and Avraham Pirchi. UCM has produced more than 40 titles, ranging from award-winning feature films to high-end television dramas. The Producers: Avraham Pirchi (President) brings a background in economics and market leadership, having served as CEO of major media marketing and distribution firms. Chilik Michaeli (Producer) is a veteran of the international circuit, with a career spanning leadership role as CEO of Israel Studios - the nation's largest production facility - and management at Warner Brothers. UCM’s body of work is a regular presence at the world’s most prestigious international film festivals, including Sundance, Berlin, Toronto, and Locarno. Notable successes include the cult hit Big Bad Wolves (declared by Quentin Tarantino as the best film of 2013), and the Locarno-selected Vanishing Soldier. Their current TV slate includes the historical drama The Stronghold and the upcoming series Double Panther. PRODUCTION CONTACT DETAILS chilikm@ucm-film.com Back To Participants PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS 3RD EDITION SERIES CATALOGUE 3RD EDITION PARTICIPANTS AND PROJECTS JURY MENTORS TEAM

Plus Size Plus Size Screenwriters: Chilik Michaeli Producer/s Chilik Michaeli , United Channels Movies (UCM) Language: Hebrew, Japanese Format: 6 Episodes x 45 Minutes Genre Comedy Send PITCHDECK LOGLINE Four women from a run-down suburb rebel against sexism and the dictatorship of thinness, by forming a women’s sumo team, rocking their conservative town and redefining love and self-worth. SYNOPSIS Bat-El Messika - the daughter of Israel’s first sumo wrestler - is under pressure. Her parents and fiancé expect her to lose enough weight to fit into a wedding dress by undergoing gastric bypass surgery. Instead of complying, Bat-El rebels: she escapes the operating table and starts an all-female sumo wrestling group for plus-size women like herself. As Bat-El attempts to build a “normal life” with her devoted partner, Haim Bachar - a loving and dependable man - her carefully balanced world is shaken by the unexpected return of Maya, the woman who once bullied her as a child. When Maya joins the sumo group, Bat-El is forced to confront her past. What begins as unresolved tension evolves into an intense emotional and sexual attraction, pushing Bat-El toward a painful choice: social security, marriage, and conformity - or desire for another woman and a journey of self-discovery. In parallel, a second romantic storyline unfolds. Bat-El’s father, Herzl, becomes the group’s coach and clings to physical strength and honor in a desperate attempt to win back his ex-wife, Zehava - Bat-El’s mother. But Zehava is now dating Aharon, Herzl’s former sumo rival turned diet guru - and Maya’s controlling father. When the group receives an opportunity to represent Israel in an amateur sumo competition in Japan - all conflicts erupt at a boiling point - only one wrestler will earn the right to travel to Japan as Israel’s sole representative. Between wedding dress fittings that end in rips, a secret affair with Maya hidden from her fiancé Haim, extreme diets that implode, and sumo matches that end in heated ties, Bat-El realizes that a safe life is suffocating her, and like in a classic romantic comedy, just before stepping into the ring for the decisive sumo tournament, she gives up the sumo competition and runs to the airport, still in her sumo underwear, to stop Maya from leaving. WRITER'S STATEMENT “Plus Size” continues the spirit of our earlier work, this time through the form of powerful, fearless, plus-size women who break into the Israeli sumo arena. This is a romantic comedy series about liberation from the conditioning of body image. Our heroine, Bat-El, who frees herself from the dictates of body image, realizes that now it is also the time to free herself from another form of restricting conditioning- marriage, weddings, and the prescriptions of the "right life". The wrestling group is composed of four plus-size women -intelligent, humorous, sexy, and groundbreaking-just as women in the past broke into sports once reserved for men, such as soccer, basketball, boxing, freestyle wrestling, pole vaulting, weightlifting, ice hockey, and more. This time, it is sumo’s turn. The artistic intention is to combine sharp, bold humor with exposed emotion, exposed skin. The dynamic between Bat-El and Maya moves between athletic rivalry and romantic attraction, and between a wounded past and a surprising present - along a tonal axis that shifts from funny, to painful, to moving. The visual design will blend traditional Japanese aesthetics - the cleanliness and precision of a Japanese restaurant, and the delicate, matchstick-like quality of forest trees - with the vibrant colors of contemporary rural city in Israel . Sumo garments, the coach’s black attire, and traditional Japanese red will merge with forest green and shifting lighting. This visual contrast will serve the tone of this romantic comedy, where heightened color, physical presence, and moments of visual exaggeration support both humor and emotional intimacy, allowing tenderness, desire, and vulnerability to emerge through movement, touch, and the charged space of the ring. ABOUT THE WRITERS Erez Tadmor is a writer and director of several feature films, including Wounded Land that won three Israeli Academy Awards in 2015, among them Best Director. He directed the films Matchmaking and Matchmaking 2 that became amongst Israel's biggest box-office hits. In 2023 he directed Children of Nobody which won at the Kolkata International Film Festival. Amongst his other films: The Art of Waiting (2019) Home Port (2016) and Soda (2024), which premiered at the Venice Film Festival. Together with Guy Nattiv, Tadmor also co-wrote and directed Magic Men (2014) and Strangers (2007), screened at Sundance. Sharon Maymon is a writer and director. He co-wrote the Academy Award (Oscar) winning short film Skin (2019). Maymon co-wrote and directed the TV series The Worst Best Thing (Keshet 12) Together with Tal Granit. In addition, he co-wrote and directed three feature films and two short films: My Happy Ending (2023) released in theaters in the U.S.; Flawless (2018) that was screened at Tribeca Film Festival; The Farewell Party (2014) that was screened at Venice and Toronto International Film Festival; Summer Vacation (2011) screened at Sundance, and To Kill a Bumblebee (2009) screened at Locarno Film Festival (2010). Sharon also co-directed A Matter of Size (2009) with Erez Tadmor - that premiered at Tribeca Film Festival. PRODUCER'S STATEMENT Plus Size is a fresh funny romantic comedy, bold, and emotionally rich new TV series currently in development. At its heart is the story of a group of women who decide to challenge the expectations placed on their bodies, their desires, and their right to define themselves. What begins as a personal journey for each of them gradually evolves into a warm, funny, and deeply human romantic comedy, anchored by an impossible three way love story that pushes them to confront who they truly are. For us as producers, this project is both a privilege and a creative joy. It offers a rare opportunity to reconnect with the remarkable talents of Sharon Maymon and Erez Tadmor, artists we know, trust, and admire. Their ability to blend humor, heart, and authentic emotion has created a world in which the story, characters, and tone come together to form something greater than the sum of all of the parts creating it. We are genuinely excited about Plus Size and confident that it will grow into a successful, engaging, and widely loved television series. PRODUCER PROFILE United Channels Movies (UCM) Founded by Chilik Michaeli and Avraham Pirchi. UCM has produced more than 40 titles, ranging from award-winning feature films to high-end television dramas. The Producers: Avraham Pirchi (President) brings a background in economics and market leadership, having served as CEO of major media marketing and distribution firms. Chilik Michaeli (Producer) is a veteran of the international circuit, with a career spanning leadership role as CEO of Israel Studios - the nation's largest production facility - and management at Warner Brothers. UCM’s body of work is a regular presence at the world’s most prestigious international film festivals, including Sundance, Berlin, Toronto, and Locarno. Notable successes include the cult hit Big Bad Wolves (declared by Quentin Tarantino as the best film of 2013), and the Locarno-selected Vanishing Soldier. Their current TV slate includes the historical drama The Stronghold and the upcoming series Double Panther. PRODUCTION CONTACT DETAILS chilikm@ucm-film.com Back To Participants PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS HOME SERIES LAB WHO'S WHO MENTORS PROFESSIONAL GUESTS JURY ADVISORY BOARD PARTICIPANTS PARTICIPATION APPLICATION RULES & REGULATIONS FAQ

Borderlines Borderlines Screenwriters: Ori Ravid, Amir Lin, Gal Lin Producer: Dikla Barkai , Abot Hameiri Barkai Language: Hebrew, Arabic, English, Russian Format: 8 Episodes x 45 Minutes Send PITCHDECK LOGLINE 4 soldiers—3 men and a woman—face the impossible surrealism of the Gaza war. SYNOPSIS Four soldiers enter the war in Gaza—and the war enters their souls, changing them irreversibly. One will lose his faith, one will lose his life, one will lose her way only to find it again, and the one who entered lost and shattered will find a ray of light within the darkness. In a war zone so close to home, as they shuttle between the battlefield and their homes, the two realities blur until neither feels real. A Jewish legend tells of four rabbis who entered an orchard, a metaphor for delving into Kabbalah's deepest mysteries—one died upon entry, one lost his mind, one abandoned his faith, and one emerged wiser and stronger. Borderlines mirrors this ancient tale, following the four protagonists through the chaotic days of war. Creator Amir Lin enlisted in his 40s, endured profound trauma in Gaza, and witnessed his family back home, disintegrate during the war. From that devastation, Borderlines was born—a different kind of war story, where mundane pains and surreal moments collide. WRITER'S STATEMENT Amir – one of the creators – saw his life falling apart during the Gaza war following October 7th. The series draws inspiration from his experiences. He served roughly 120 days in reserve duty, returning again and again despite mounting personal costs. Borderlines wants to capture something elusive about life in the midst of war. Something primarily mental: Not trauma in the classical sense, but rather a general eclipse - a loss of faith in the normal, the normative, the institutional, and a turn toward the intuitive and non-routine. The series creates a tone simultaneously hyper-realistic and raw, yet touched with surrealism. A world where the psyche of our characters is reflected in reality and vice versa. The constant sensation is one of blurred lines between consciousness and reality. We express this through constant mixing of worlds: real combat in ambushes blended with the protagonist's son's Minecraft battles, where he suffers virtual bullying. The domestic world finds its way into Gaza's heart: a vision of a Bat Mitzvah girl sitting amid wedding hall ruins. The aesthetic trades gray urban combat grit for the hyper-saturated, hallucinogenic palette of a "sunrise set" gone wrong at a rave party. Battlefield dust merges indistinguishably with festival dust. Tanks breathe like massive dystopian art installations, tunnel networks feel like descents into the subconscious. This is a world where authorities have abdicated, where everyone discovers the opposite of what they believed about themselves. Like Ari, a reservist from a religious-Zionist background - a cardiac surgeon who finds himself hauling a generator to save patients in a hospital after his own unit cut the power, knowing some of those patients are likely connected to Hamas. Within a psychological war drama, we create a personal, nuanced tone steeped in the experiences, crises, and insights emerging from friction with this reality. ABOUT THE WRITERS Ori Ravid A seasoned Israeli screenwriter and director, renowned for his work on the acclaimed film Eli & Ben (2008), which he wrote and directed. A graduate of Tel Aviv University's Department of Film and Television Studies, Ravid has contributed to several notable Israeli television series, including Asfur, Split, and Galis. Beyond his creative endeavors, he has served as a script editor and mentor, notably at the Sam Spiegel Film and Television School. His recent projects encompass directing and writing roles in films like Salento. Amir Lin Borderlines tells the personal story of Amir, who served in an elite military unit in his youth and volunteered to re-enlist in the army during the war. His personal story, bridging war, family, and altered states of consciousness, is the foundation for this series. PRODUCER'S STATEMENT Borderlines offers strong international appeal: intimate character drama, genre-bending aesthetics, and themes relevant to audiences navigating their own societal fractures. We have a series bible, and an experienced creative team. We are seeking European co-production partners for this war drama that transcends its Israeli origins to explore universal themes of identity rupture and institutional collapse. We're looking for: • A European production company to co-produce • A European broadcaster or streaming platform • Creative and financial partners who share our vision for bold, visually distinctive storytelling We're open to discussing various co-production models and welcome conversations about how to tailor the project for European markets while maintaining its distinctive voice. PRODUCER PROFILE Fremantle Israel Studio (formerly Abot Hameiri Barkai) is a leading Israeli production house specializing in high-quality, innovative television content. Since its acquisition by Fremantle International in 2016, the Studio, headed by Dikla Barkai, has gained global recognition for its acclaimed drama series. Its portfolio includes the international hit Shtisel (YES/Netflix), winner of 16 Israeli Academy Awards, and its prequel Kugel. Other notable works include East Side (produced for Kan 11, sold worldwide), the award-winning Srugim, The Conductor, and The Attaché. The studio’s success extends to scripted formats like When Shall We Kiss, remade for HBO Europe, and award-winning documentaries such as the Sundance Special Jury Prize winner Hot House. Known for producing much of Israel’s primetime content, the studio consistently delivers creative excellence on a global scale. PRODUCTION CONTACT DETAILS dikla@abotbarkai.co.il Back To Participants PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS 3RD EDITION SERIES CATALOGUE 3RD EDITION PARTICIPANTS AND PROJECTS JURY MENTORS TEAM

Shtukit Add a Title Add a Title Send Send Liat Revaya Producers: , Merav Hadas Haddad Shtukit Lab Edition 4 2025 PITCH LOGLINE Only two things stand between Bat-Or and her new life: God, and her father. One of them has to die and it won't be God. SYNOPSIS According to Jewish law, a "Shtukit" is a woman who doesn't know her father's identity and is suspected of being illegitimate, therefore forbidden to marry. Bat-Or is thirty, newly religious, and she keeps getting set up with men who aren't even close to her level. In the religious world, family background matters and hers is a disaster. Her mother's a former inmate with a weakness for weed and losers, living in a border town Bat-Or left behind. The man she thought was her father walked out when she was a kid. Even her aunt, a respectable nurse and the woman who actually raised her, doesn't help her case. Neither does her job teaching inmates. When she gets the chance to sell her grandmother's house and take all the money, suddenly, her stock goes up. In matchmaking, money talks louder than problematic family. For the first time, the matchmaker sets her up with Avihai, from a wealthy, respectable family, devout and kind. They meet, and it clicks instantly. In their world, to avoid living in sin, they need to marry within months. There's just one problem: Bat-Or doesn't know "Dad" wasn't her real father. And the secret is about to come out. WRITER'S STATEMENT I grew up in a border town in northern Israel, the youngest of seven in a complex family. I served five years as a detective before moving into documentary filmmaking. Today, I work as a documentary researcher and director at Keshet 12 and teach civics and motivation to lifers. The prison, the border town, the characters in Shtukit, these are places and people I know. Bat-Or, like me, wants a new life and a new family, but the past doesn't let go. Shtukit is an edgy dark comedy filled with human warmth. The humor and crime emerge naturally from who these characters are: ex-cons, hustlers, religious seekers living messy, complicated lives. The language is raw, the stakes are real. Visually, the series is realistic, unglamorous, unforgiving. War-worn exhaustion, prison grit, grandma's house with peeling paint. A border town, a prison, an old house, settings that create a stark contrast between what the characters dream of and the gritty reality they're trapped in. At its core, Shtukit is about the search for home: physical, emotional, stable. About what people are willing to do for a fresh start, even when the past refuses to stay buried. PRODUCER'S STATEMENT From the first moment we first read Shtukit, we immediately recognized a truly exceptional project—one unlike anything we had seen before. We all fell in love with the story, the writing, and with Meirav herself. For a long while now, we have been accompanying Meirav through the development and writing of her unique story. As we progress, we realize just how important this narrative is. It is a rare opportunity to bring a distinct female story to the forefront, balanced with a healthy dose of self-deprecating humor. At Tedy Productions, a company led by a team of strong proffesional women, we feel that creating with strong women carries a potent power that isn’t always heard. In Shtukit, we clearly identified the powerful female voice that Meirav brings—a voice we haven’t encountered in other projects. We believe in her unique perspective and are convinced that this is a powerful story that simply must reach the screen. LOOKING FOR Co-producers, Platforms, National and/or regional fund Back To Participants HOME SERIES LAB WHO'S WHO MENTORS PROFESSIONAL GUESTS JURY ADVISORY BOARD PARTICIPANTS PARTICIPATION APPLICATION RULES & REGULATIONS FAQ PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS

Bad Blood Bad Blood Screenwriter: Osnat Saraga Producer/s Osnat Saraga , Paramount Israel (Ananey Studios) Language: Hebrew Format: 8 Episodes x 35 Minutes Genre Drama, Comedy Send PITCHDECK LOGLINE Ellie swore she’d never return to her hometown. But when her ex-bestie reopens the murder case that shattered their lives, she has to join the investigation. Because after all, Ellie is the killer. SYNOPSIS Ellie (38) doesn’t want to be here. She left her hometown as a rejected young woman with a big mouth and a dominant jawline. Now she’s back with the same big mouth and a jawline that cost her the last of her savings. And it’s all because Zohar (38) decided to stir up the past. As Zohar starts planning the special 20-year memorial of Dror Peretz’s death, she can’t shake the feeling she has had for years: something’s off. Sure, the police called it a tragic self-inflicted accident, but Dror was a star athlete, an outstanding student, and a really hot guy. Guys like him don’t just turn up half-naked and completely dead inside the trunk of their own car after a Purim costume party. And for Zohar, it’s personal. Dror was her husband Yiftach’s (38) adored older brother. Zohar is determined to reveal Dror’s real killer at the memorial event, taking place in one month. When Ellie gets a thrilled message from Zohar about her new investigation, she thinks it would be easy to talk her out of it. But Zohar is too stubborn, and Ellie realizes the only way to derail the case is to get on a plane and join it. Zohar has no idea that Ellie, the new Watson to her Sherlock, is the very person she’s trying to hunt down. And since Ellie’s already forced into what’s basically a never-ending high school reunion with the people who made her teenage years a living hell, she figures, why not use this opportunity to settle some scores and get revenge? Bad Blood, based on the graphic novel by Tamar Blumenfeld, is a dark detective comedy that pairs up the detective and the murderer, two ex-best friends, as they each confront the defining trauma that shaped their lives. It’s not a “whodunit”, but a “whydunit”. For Ellie, it’s also a coming-of-age story for someone who’s long overdue for one. She will have to finally stop using the past as an excuse and face the sins she’s worked so hard to bury. WRITER'S STATEMENT At first glance, Ellie is everything I want to be. Shameless, unapologetic, someone who knows her worth. But the more time I spent with her, I realized I’m not drawn to Ellie because she’s brave, but because she’s terrified. She’s constantly dodging responsibility, constantly refusing to grow up. And as much as it sucks to admit, I totally get that. I get not wanting to move forward. We live in a time when we’re finally, rightfully, shifting blame off victims and onto the people who wronged them. But sometimes it just feels good to be the victim. There’s comfort in it. The pain becomes a shield, a way to avoid risk, responsibility, growth. Victimhood is a hell of a drug, and a damn good excuse to stay in your comfort zone. It’s also a great way to escape accountability. As viewers try to understand Ellie and her actions, Ellie herself is undergoing a belated coming-of-age journey of her own. Even though Dror’s death occurred while she was trying to protect Zohar, and could technically be considered self-defense, Ellie still perceives herself as a murderer. That black-and-white view of herself is part of her defense mechanism. It reflects an inability to hold complexity and a method of avoiding true accountability. It’s easier for Ellie to see herself as a monster than to confront the messy truth. She prefers to stay in “everything happens to me” mode and let her trauma take the wheel as she plays the role of the child who is not responsible for anything. Ellie’s arc in the season demands that she stop running from that complexity and admit that during those awful, confusing moments, she killed Dror not only to save her friend but also because she was jealous of her. As horrifying as it sounds, Ellie envied the fact that Zohar was the one Dror chose as his victim, rather than her. Only when Ellie faces up to that truth and really owns it, can she finally move on. ABOUT THE WRITER Or Levy Berger is a screenwriter, director, and ginger. Graduated with honors as a screenwriting major from the Jerusalem Sam Spiegel Film School. Or was the head writer for Flashback Studio (Studio Amatzia, 2024+), a children’s comedy series that combines a live-action sitcom with anime-style animation, which aired on Kan Kids (Israeli Public Broadcasting). She also wrote for various other comedy series, including My Nephew from Hell and Bed & Biscuit. Or feels very self-conscious when she needs to write about herself in the third person, but she guesses that’s part of the format. PRODUCER'S STATEMENT "Bad Blood" expresses the voice of a generation. It is told through the perspective of a creator who belongs exactly to this generation of 30-somethings. The story reckons with the complexities of youth- its transgressions and the powerful, polar extremes ranging from deep insecurity and inferiority complexes to reckless overconfidence. Ellie tried to help Zohar but committed a "sin": she withheld critical information that could have completely transformed Zohar’s life, all under the guise of wanting to protect her. Zohar was raped without knowing she was raped. This raises a profound question: do we truly want to know the truths that could shatter the world we think we know and control? I believe this story, with its unique voice, is both universal and timeless. Yet, it remains specifically attuned to today’s 30-somethings and their capacity to face reality. This is a series that will be "must-watch" television in every home. PRODUCER PROFILE Ananey Studios, a Paramount company, is an award-winning studio that specializes in developing and producing innovative content across a wide range of genres and target audiences, including high-concept dramas, documentaries, live-action preschool shows, kids' and teen series, sitcoms, animation, lifestyle programs, and formats. Ananey Studios' portfolio includes productions that have reached major international platforms such as Netflix, Nickelodeon, MTV, CBBC, and HBO. Our productions uphold the highest standards and showcase the richness and diversity of Israeli storytelling, both within the Israeli market and globally. Notable productions include: Band of Spies (co-production with Paramount), Fireflies for HOT and Paramount+, On Our Own (five seasons) for Kan Kids, Malevolent Bride for Kan (commissioned by A&E), Telling Nuni, an award-winning documentary, and many others. PRODUCTION CONTACT DETAILS Osnat.Saraga@paramount.com Back To Participants PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS HOME SERIES LAB WHO'S WHO MENTORS PROFESSIONAL GUESTS JURY ADVISORY BOARD PARTICIPANTS PARTICIPATION APPLICATION RULES & REGULATIONS FAQ

Borderlines Borderlines Screenwriters: Dikla Barkai Producer/s Dikla Barkai , Abot Hameiri Barkai Language: Hebrew, Arabic, English, Russian Format: 8 Episodes x 45 Minutes Genre Drama, Action Send PITCHDECK LOGLINE 4 soldiers—3 men and a woman—face the impossible surrealism of the Gaza war. SYNOPSIS Four soldiers enter the war in Gaza—and the war enters their souls, changing them irreversibly. One will lose his faith, one will lose his life, one will lose her way only to find it again, and the one who entered lost and shattered will find a ray of light within the darkness. In a war zone so close to home, as they shuttle between the battlefield and their homes, the two realities blur until neither feels real. A Jewish legend tells of four rabbis who entered an orchard, a metaphor for delving into Kabbalah's deepest mysteries—one died upon entry, one lost his mind, one abandoned his faith, and one emerged wiser and stronger. Borderlines mirrors this ancient tale, following the four protagonists through the chaotic days of war. Creator Amir Lin enlisted in his 40s, endured profound trauma in Gaza, and witnessed his family back home, disintegrate during the war. From that devastation, Borderlines was born—a different kind of war story, where mundane pains and surreal moments collide. WRITER'S STATEMENT Amir – one of the creators – saw his life falling apart during the Gaza war following October 7th. The series draws inspiration from his experiences. He served roughly 120 days in reserve duty, returning again and again despite mounting personal costs. Borderlines wants to capture something elusive about life in the midst of war. Something primarily mental: Not trauma in the classical sense, but rather a general eclipse - a loss of faith in the normal, the normative, the institutional, and a turn toward the intuitive and non-routine. The series creates a tone simultaneously hyper-realistic and raw, yet touched with surrealism. A world where the psyche of our characters is reflected in reality and vice versa. The constant sensation is one of blurred lines between consciousness and reality. We express this through constant mixing of worlds: real combat in ambushes blended with the protagonist's son's Minecraft battles, where he suffers virtual bullying. The domestic world finds its way into Gaza's heart: a vision of a Bat Mitzvah girl sitting amid wedding hall ruins. The aesthetic trades gray urban combat grit for the hyper-saturated, hallucinogenic palette of a "sunrise set" gone wrong at a rave party. Battlefield dust merges indistinguishably with festival dust. Tanks breathe like massive dystopian art installations, tunnel networks feel like descents into the subconscious. This is a world where authorities have abdicated, where everyone discovers the opposite of what they believed about themselves. Like Ari, a reservist from a religious-Zionist background - a cardiac surgeon who finds himself hauling a generator to save patients in a hospital after his own unit cut the power, knowing some of those patients are likely connected to Hamas. Within a psychological war drama, we create a personal, nuanced tone steeped in the experiences, crises, and insights emerging from friction with this reality. ABOUT THE WRITERS Ori Ravid A seasoned Israeli screenwriter and director, renowned for his work on the acclaimed film Eli & Ben (2008), which he wrote and directed. A graduate of Tel Aviv University's Department of Film and Television Studies, Ravid has contributed to several notable Israeli television series, including Asfur, Split, and Galis. Beyond his creative endeavors, he has served as a script editor and mentor, notably at the Sam Spiegel Film and Television School. His recent projects encompass directing and writing roles in films like Salento. Amir Lin Borderlines tells the personal story of Amir, who served in an elite military unit in his youth and volunteered to re-enlist in the army during the war. His personal story, bridging war, family, and altered states of consciousness, is the foundation for this series. PRODUCER'S STATEMENT Borderlines offers strong international appeal: intimate character drama, genre-bending aesthetics, and themes relevant to audiences navigating their own societal fractures. We have a series bible, and an experienced creative team. We are seeking European co-production partners for this war drama that transcends its Israeli origins to explore universal themes of identity rupture and institutional collapse. We're looking for: • A European production company to co-produce • A European broadcaster or streaming platform • Creative and financial partners who share our vision for bold, visually distinctive storytelling We're open to discussing various co-production models and welcome conversations about how to tailor the project for European markets while maintaining its distinctive voice. PRODUCER PROFILE Fremantle Israel Studio (formerly Abot Hameiri Barkai) is a leading Israeli production house specializing in high-quality, innovative television content. Since its acquisition by Fremantle International in 2016, the Studio, headed by Dikla Barkai, has gained global recognition for its acclaimed drama series. Its portfolio includes the international hit Shtisel (YES/Netflix), winner of 16 Israeli Academy Awards, and its prequel Kugel. Other notable works include East Side (produced for Kan 11, sold worldwide), the award-winning Srugim, The Conductor, and The Attaché. The studio’s success extends to scripted formats like When Shall We Kiss, remade for HBO Europe, and award-winning documentaries such as the Sundance Special Jury Prize winner Hot House. Known for producing much of Israel’s primetime content, the studio consistently delivers creative excellence on a global scale. PRODUCTION CONTACT DETAILS dikla@abotbarkai.co.il Back To Participants PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS HOME SERIES LAB WHO'S WHO MENTORS PROFESSIONAL GUESTS JURY ADVISORY BOARD PARTICIPANTS PARTICIPATION APPLICATION RULES & REGULATIONS FAQ

Borderlines PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS HOME SERIES LAB WHO'S WHO MENTORS PROFESSIONAL GUESTS JURY ADVISORY BOARD PARTICIPANTS PARTICIPATION APPLICATION RULES & REGULATIONS FAQ

Borderlines PARTICIPATION APPLICATION RULES & REGULATIONS PARTICIPANTS OBLIGATIONS PARTICIPATION REGULATION SERIES LAB PARTICIPANTS MENTORS PROFESSIONAL GUESTS JURY PARTICIPATION APPLICATION RULES & REGULATIONS FAQ SERIES LAB FILM LAB MENTORS JURY DECISION MAKERS SCOUTS AND PITCHING PROFESSIONAL GUESTS PARTICIPANTS & PROJECTS LAB FILMS PARTICIPATION APPLICATION PARTICIPANTS OBLIGATIONS RULES & REGULATIONS FILM FAQ FILM LAB HOME TEAM NEWS LABS 3RD EDITION SERIES CATALOGUE 3RD EDITION PARTICIPANTS AND PROJECTS JURY MENTORS TEAM