Movie Reviews:

* « The film reflects the urgency and pain of its time. It blends documentary and drama, combining actual footage with staged reconstructions. The dramatic scenes are secondary to the powerful archival footage, yet they also support Rachel Edri and her story—not only from that day but also from the days before and after. Edri is the heart of this film, and her presence alone justifies its creation. Even in her most painful moments, she opens up to the camera—not to set an example or achieve something, but because of her unique mix of honesty and charisma. 'Rachel from Ofakim' ('Cookies for Life'): A film of bravery and personal tragedy / Naama Rak / Jerusalem Post

Director's Statement:

After Rachel Edri shared her story with me, I asked myself this: when Rachel was feeding the militants, singing, and laughing with them, was it all acting, or was it genuine? Was she an incredible actress who, deep down, saw them as enemies, or did she truly see them as men in need of a mother, as human beings with weaknesses and needs—not so different from her sons, her husband, or the soldiers she served in the army’s canteen? Rachel responded without hesitation: 'Oh, it was just acting.' But as I started to investigate what 'acting' really is and what an actor feels, I realized that good acting is not just skilled imitation; it’s the distillation of truth. To perform well, you have to embody what you’re portraying, down to every fiber of your being. In essence, the answer is clear: for her to reach the hearts of her captors, she had to truly feel something for them. 

Rachel’s ability to adapt to a situation like a chameleon, or a fish to water, is a skill often seen in children—the ability to imagine and operate in a world of make-believe. Rachel, like children, naturally immersed herself in a world of imagination. So, when we discussed how to tell her story, and she suggested bringing in an actress, I immediately agreed. Rachel also made a thought-provoking comment: 'Let’s bring in an actress; otherwise, no one will believe what happened to me’. this added another layer to the film’s theme: where does one feel a story more intensely—in narrative cinema or documentary? Sometimes, I find myself as moved and connected to characters in narrative films, if not more so, than in documentaries. It’s an intriguing thought, and I explored this question in the film’s language, which merges documentary scenes with dramatic ones.
Zohar Wagner