Rain in Her Eyes Q&A - Boston Israeli Film Festival 2021

THE FESTIVAL CONTINUES THROUGH WEDNESDAY, MARCH 10TH. WE HAVE EVENTS COMING UP EVERY DAY, INCLUDING TODAY ANOTHER EVENT AT 4 P. M. FOR THE FILM ROCKFOUR: THE TIME MACHINE. IT WILL BE A GREAT CONVERSATION AND I HOPE YOU CAN JOIN US FOR THAT AS WELL.

01:08 - WE ARE SO PLEASED THAT THE DIRECTOR OF RAIN IN HER EYES IS WITH US HERE TODAY. RON OMER IS DVORA OMER’S SON AS YOU WOULD KNOW FROM THE FILM. AND WHILE THIS IS HIS DIRECTORIAL DEBUT, WE HAVE SEEN HIS WORK AT THE FESTIVAL MANY TIMES. HE IS THE EDITOR OF WHO’S GONNA LOVE ME NOW, WHICH CLOSED OUR 2016 BOSTON JEWISH FILM. HE EDITED MR. GAGA WHICH WE PREMIERED BEFORE. IT WAS RELEASED IN THEATERS IN BOSTON AND HAS WON THREE AWARDS FROM THE ISRAELI ACADEMY AWARDS.

SO WELCOME, RON. WE’RE SO GLAD TO HAVE YOU HERE WITH US TODAY.

01:47 - AND RON WILL BE INTERVIEWED TODAY BY YAEL MARX WHO IS AN EDUCATOR AND LITERATURE TEACHER WHO RUNS A BIWEEKLY BOOK CLUB FOCUSED ON HEBREW LITERATURE.

02:00 - SO WE’LL HAVE A LOT TO TALK ABOUT WITH RON. IN ABOUT 20 MINUTES, YAEL WILL BE OPENING UP THE CONVERSATION WITH QUESTIONS FROM YOU GUYS. SO IF YOU HAVE QUESTIONS ABOUT FILM, QUESTIONS FOR RON, PLEASE ENTER THEM INTO THE Q&A SECTION BELOW ON THE SCREEN. YAEL, TAKE IT AWAY.

02:21 - >> Yael Marx: HELLO. HI, RON. >> Ron Omer: HI, EVERYBODY. >> Yael Marx: HI, EVERYBODY.

02:27 - I WAS DEBATING WITH MYSELF IF I SHOULD SAY HI, RON OR RON IN A VERY ISRAELI ACCENT. I’M REALLY EXCITED TO BE HERE TODAY. AND I WILL START WITH MY EXPERIENCE WITH THE DVORA OMER’S BOOKS. WHEN I WAS A KID I REALLY LOVED YOUR MOTHER’S BOOKS AND I THINK ALL MY FRIENDS READ THEM. AND IT WAS PART OF OUR LIFE AND I REMEMBER REALLY GETTING INVOLVED WITH THE CHARACTERS, ESPECIALLY SARAH AARONSOHN, SARAH GIBORAT NILI. I REMEMBER READING IT, ESPECIALLY THE LAST PART OF THE BOOK.

AND TRYING – READING OVER AND OVER AGAIN, TRYING TO FIND THAT MAYBE THERE IS A CHANCE THAT SHE DIDN’T DIE. AND I WAS REALLY SAD. SO THIS IS JUST AN EXAMPLE FOR ME REALLY GROWING UP READING THOSE BOOKS AND REALLY INSPIRED BY THEM.

03:31 - WHEN YOUR DAUGHTER CAME FROM SCHOOL AND SAD, I DON’T THINK MY FRIENDS KNOW WHO IS DVORA OMER. WAS THIS THE FIRST TIME YOU THOUGHT IT WOULD BE A GOOD TIME TO MAKE A MOVIE – TO DIRECT A MOVIE ABOUT HER? >> Ron Omer: AS ARIANA SAID ALREADY, I’M FILM EDITOR. I NEVER THOUGHT I’M GOING TO DIRECT A FILM. IT’S A REALLY, REALLY HARD JOB TO DIRECT AND I WAS VERY AFRAID TO CHANGE THE POSITION TO BE A DIRECTOR.

04:06 - SO WHEN MY DAUGHTER CAME BACK HOME AND SAID THAT NONE OF THE KIDS KNEW WHO DVORA OMER WAS, THIS WAS THE POINT THAT I DECIDED TO MAKE THIS FILM. AND WHEN I STARTED DIGGING INTO THE MATERIALS, I ALSO UNDERSTOOD – IT’S TOO GOOD OF A STORY NOT TO MAKE IT – A FILM OF IT.

04:30 - >> Yael Marx: I WONDER HOW DID YOU FIND A BALANCE BETWEEN YOU AS A DIRECTOR AND EDITOR, A PROFESSIONAL MOVIEMAKER AND THE FACT THAT YOU ARE PART OF THAT STORY BECAUSE GENETICALLY YOU ARE PART OF THE STORY. HOW DID YOU MANAGE THAT? >> Ron Omer: THAT’S A VERY GOOD QUESTION AND IT’S THE HARDEST QUESTION FOR ME. I’M GOING TO TELL YOU – I’M GOING TO GIVE YOU AN EXAMPLE HOW I THOUGHT I’M GOING TO MAKE THE FILM AND AFTER YOU SAW THE FILM, YOU UNDERSTAND HOW I ENDED MAKING THE FILM.

THE FIRST DAY OF SHOOTING, WE SHOOT MY FATHER, AND BEFORE WE STARTED ROLLING THE CAMERA, I TOLD HIM, DADDY, IF YOU ARE GONNA TALK ABOUT MOM, DON’T SAY MOM, SAY DVORA OMER. SO I CAN BE BEHIND THE CAMERA AS A DIRECTOR, ANY DIRECTOR, AND I’M NOT GOING TO TAKE THE PART OF THE SON. VERY SOON I UNDERSTOOD THAT IT’S THE WRONG STARTING POINT FOR THIS PROJECT BECAUSE I AM THE SON OF THE HERO OF THE FILM.

05:43 - AND I MUST TAKE SOME KIND OF A POSITION IN THIS ROLE. AND THIS WAS THE HARDEST THING FOR ME TO – I DIDN’T WANT TO MAKE A FILM ABOUT MYSELF. I WANTED TO MAKE A FILM ABOUT DVORA OMER THAT MANY KIDS GREW UP ON HER BOOKS. AND I KNEW I’M NOT GOING TO MAKE – IT’S CALLED AN “I” MOVIE. WHEN THE FILMMAKER IS MAKING A FILM ABOUT HIMSELF.

06:14 - AND A LOT OF SCENES WHERE I’M IN IT, IT IS LEFT OUTSIDE OF THE FILM AND IT TOOK ME A LONGER PROCESS TO FIND THE PRECISE ROLE OF ME BEING IN THE FILM.

06:29 - BUT YOU KNOW, I’M FILM EDITOR AS I SAID, AND IT HELPED ME A LOT – I SPENT TWO AND A HALF YEARS OF MAKING THIS FILM.

06:40 - TWO YEARS IN THE EDITING ROOM. AND AS YOU CAN IMAGINE, TO SPEND TWO YEARS, TEN HOURS A DAY, WITH YOUR DEAD MOM THERE IN THE EDITING ROOM CAN BE VERY, VERY TOUGH MISSION.

06:53 - BUT I ADMITTEDLY WEAR THE HAT OF THE PROFESSIONAL EDITOR AND I KNEW THAT I HAVE TO MAKE A FILM. AND IT HELPED ME A LOT IN ONE SIDE TO BE NOT SO CLOSE EMOTIONALLY TO THE FILM, TO THE STORY. AND TO MAKE A FILM – MY BIGGEST FEAR WAS THAT I’M GOING MAKE A FILM THAT’S GOING TO BE INTERESTED TO ONLY MY FAMILY. >> Yael Marx: YEAH. YEAH.

07:24 - >> Ron Omer: I TOOK MY SKILLS AS AN EDITOR WHO EDITS MANY, MANY FILMS AND PUT THEM IN THIS FILM.

07:34 - >> Yael Marx: SO IT’S LIKE BEING THE SON OF DVORA OMER, THE SON OF A GREAT AUTHOR, EDITOR, DIRECTOR, BUT ALSO KIND OF TRYING TO THINK WHAT WILL BE THE REACTION OF THE AUDIENCE ALSO, RIGHT? BECAUSE YOU WANTED TO MAKE IT EXCITED AND TOUCHING FOR EVERYBODY AND I HAVE TO SAY PERSONALLY, I LOVE THIS MOVIE. IT FEELS TO ME LIKE SO GENTLE IN TOUCHING EVERYTHING. IT’S EMOTIONAL, BUT NOT TOO EMOTIONAL. IT’S SO BEAUTIFUL. SO YEAH. I WANT TO ASK ANOTHER QUESTION.

LET’S IMAGINE WE PUT DVORA OMER IN A TIME MACHINE AND SHE’S WITH US TODAY HERE. WITH YOU OR WITH ME OR WITH ARIANA AND SHE IS PART OF THIS EXCITEMENT.

08:36 - WHAT WILL BE HER REACTION. WHAT WOULD THE MESSAGE BE SHE WOULD WANT TO CONVEY? >> Ron Omer: YOU ASK THE BEST QUESTIONS. IT’S SOMETHING I THINK ABOUT A LOT BECAUSE MY MOTHER, SHE WAS VERY SHY. SHE WAS VERY PRIVATE.

08:52 - AND I’M NOT SURE THAT SHE WOULD HAVE BEEN SO HAPPY WITH THIS FILM AND THIS KIND OF A FILM.

09:01 - I DON’T HAVE THE ANSWER, BUT I CAN TELL YOU THAT AFTER THE FILM, I WENT OUT AND MY FATHER – AND MY BROTHER SAW IT A FEW TIMES. HE CALLED ME ONE DAY, AND HE SAID, YOU KNOW, I THINK MOM WOULD HAVE LIKED – WOULD LOVE THE FILM.

09:18 - AND I WAS SO HAPPY HE SAID THAT. IT MADE ME SO HAPPY BECAUSE IT’S A QUESTION I’M ASKING MYSELF. AND I THINK IN ONE PART SHE WOULDN’T LIKE IT, ON THE OTHER HAND, SHE WOULD UNDERSTAND, BECAUSE SHE WROTE ABOUT HISTORICAL HEROS. AND SHE KNEW HOW TO PUT INSIDE EMOTIONS, NOT TO PUT THEM ON A PEDESTAL, THAT THEY WERE PERFECT. THEY HAD THE SCARS AND WOUNDS AND SHE WROTE ABOUT THE SCARS AND THE WOUNDS. AND ALSO IN THIS FILM, I KNEW I HAD TO BRING HER CHARACTER AS A WHOLE, WITH THE WOUNDS, WITH THE SCARS, WITH THE IMPERFECTION.

10:03 - THIS IS WHAT MAKE US CONNECTED, INTERACTIVE WITH THE CHARACTER. >> Yael Marx: THEN THAT BRINGS ME TO THE NEXT QUESTION ABOUT HER CHARACTER.

10:16 - I WATCHED AN INTERVIEW WITH HER, ONE HOUR AND A HALF INTERVIEW WITH HER AND I SAID TO MYSELF, SHE IS A GROWN UP WOMAN, MAYBE SHE WAS 80 OR 70 SOMETHING AND SHE LOOKS TO ME SO GULLIBLE, SO VERY, VERY SENSITIVE.

10:37 - MAYBE A LITTLE BIT NAIVE. AND I WONDER – MAYBE IT’S A VERY PERSONAL QUESTION, BUT YOU ARE ALSO AS HER SON, HOW DID IT INFLUENCE YOU AS HER SON GROWING UP IN THIS HOUSE WITH A VERY – NOT CHILDISH – BUT A VERY GULLIBLE, SENSITIVE PERSON? >> Ron Omer: AS A CHILD, I DIDN’T UNDERSTAND THAT SOMETHING IS DIFFERENT WITH MY MOM. THIS IS THE WAY SHE WAS, AND I REALLY LOVED HER AND I WAS VERY HAPPY AS A CHILD.

11:11 - I DIDN’T FEEL THAT ANYTHING IS MISSING FROM MY LIFE. WHEN I BECAME A FATHER, AND I WATCH MY WIFE AS A MOTHER, THEN I UNDERSTOOD THAT, OKAY, THIS IS HOW A MOTHER SHOULD BE.

11:25 - MY MOTHER WAS VERY, VERY, VERY SENSITIVE PERSON. AND WE AS KIDS, WE UNDERSTOOD THAT WE CANNOT LEAN ON HER TOO MUCH WITH THINGS THAT CAN BE HURTFUL FOR HER.

11:43 - BUT WE DID IT WITH GREAT LOVE TO PROTECT HER, TO BE GENTLE WITH HER. SHE WAS REALLY A CHILD WITH RAIN IN HER EYES.

12:03 - SO THIS IS THE WAY WE GREW UP. I WAS – I’M THE LAST ONE. MY BROTHER AND MY SISTER GREW UP WITH A DIFFERENT MOTHER. SHE WAS MUCH MORE WOUNDED. WHEN I CAME INTO HER LIFE, SHE WAS AFTER – DISCOVERING WHAT HAPPENED TO HER MOM. SHE WAS HAPPIER. BUT LUCKILY, I GOT A BETTER MOM THAN THEY DID. >> Yael Marx: YEAH, I CAN IDENTIFY WITH THAT ABOUT BEING A SECOND GENERATION OF THE HOLOCAUST, IT’S NOT THE SAME, BUT BEING THE YOUNGEST, I GOT PARENTS THAT WERE LESS IN THAT EXPERIENCE AND MORE IN THE FUTURE AND PRESENT AND FUTURE.

SO I REALLY CAN IDENTIFY WITH YOU. DO YOU THINK THAT BEING SO SENSITIVE AND HER HISTORY AND THE STORY OF HER FAMILY WAS A TRAIT, LIKE A TRAIT THAT REALLY MADE HER BOOKS AVAILABLE AND FRIENDLY USED BY ON OUR GENERATION THAN IF SHE WAS A REGULAR GROWN UP? I THINK I DON’T SEE RON. IT LO.

13:34 - LET’S GET HIM TO RECONNECT. >> Yael Marx: OKAY. MAYBE WE SHOULD – I’LL JUST TALK ABOUT THE NEXT QUESTION WILL BE ABOUT DVORA OMER’S CHARACTER AS PART OF HER BEING ABLE TO CONNECT WITH CHILDREN IN HER BOOKS.

14:03 - WHILEF YOU CAN TELL US A LITTLE BIT ABOUT READING DVORA OMER WHEN YOU WERE A KID. AND YOUR RELATIONSHIP TO THEM. >> Yael Marx:SURE. I THINK I SAID TO RON FIRST, I’LL SAY IT AGAIN, JUST READING AGAIN SARAH GIBORAT NILI, I REALLY LOVED THAT CHARACTER.

14:26 - I THOUGHT THAT SHALOM CHOSE HER SISTER OVER HER IN A ROMANTIC WAY WAS NOT SOMETHING THAT I AGREED WITH.

14:35 - AND HER DEATH IN THE END, I REALLY WANTED TO CHECK IF I MISSED SOMETHING. IF I MISREAD IT AND I REALLY WANTED HER TO BE ALIVE. I CAN TALK ABOUT ALSO ELIEZER BEN-YEHUDA.

14:54 - THE STORY ABOUT ELIEZER BEN-YEHUDA’S SON – THAT WAS SO SPECIAL THAT SHE GAVE A VOICE – >> Ron Omer: HI, EVERYBODY. SORRY FOR THAT. SOMETHING WENT WRONG WITH THE INTERNET OR MY CAMERA, I DON’T KNOW.

15:09 - BUT I’M BACK. YOU HEAR HE? WELCOT TALKING ABOUT HER MEMORIES OF YOUR MOTHER’S BOOKS.

15:18 - >> Ron Omer: LET ME TRY TO FIX IT. >> Yael Marx: YOU’RE WITH US. >> Ron Omer: NO, I CAN’T HEAR YOU. >> Yael Marx: OH, YOU CANNOT HEAR ME. >> Yael Marx: CAN YOU HEAR ME, RON? NO. SO WH, PLEASE GO. >> Yael Marx: I’LL CONTINUE – SO IT WAS A VERY SPECIAL APPROACH – >> Ron Omer: NOW I CAN HEAR YOU.

15:54 - >> Yael Marx: I’LL JUST FINISH MY SENTENCE, RON. I’M TALKING ABOUT YOUR MOTHER’S BOOK, THE STORY ABOUT THE SON OF ELIEZER BEN-YEHUDA, ONE OF MY FAVORITES. AND I SAID TO ARIANA THAT IT WAS FASCINATING.

16:09 - FASCINATING TO SEE THAT YOUR MOTHER, DVORA OMER, GAVE A VOICE TO A KID. HE WAS A HERO ELIEZER BEN-YEHUDA, BUT HIS SON WAS REALLY SUFFERING FOR HIS EXTREME VIEWS – BEAUTIFUL VIEWS – THAT BROUGHT THE HEBREW TO LIFE.

16:24 - AND THIS CONNECTS TO MY QUESTION ABOUT WAS IT A TRAIT THAT SHE WAS A LITTLE GULLIBLE AND NAIVE AND YOUNGER IN HER SPIRIT TO BRING THIS VOICE TO HER BOOKS? >> Ron Omer: ABSOLUTELY. I THINK SHE WAS A CHILD ALL HER LIFE. AND SHE KNEW HOW TO CONNECT WITH CHILDREN.

16:47 - AND SHE ALSO BELIEVED THAT THERE IS NO EMOTION THAT CHILDREN CANNOT BE – DEAL WITH. AND SHE WROTE ABOUT VERY HARD FEELINGS AND EMOTIONS IN HER BOOKS.

17:00 - AND USUALLY KIDS OR YOUTH FINISH READING HER BOOKS AND ARE CRYING. YOU KNOW, I ALSO DISCOVERED WHILE MAKING THE FILM THAT MY MOTHER WROTE ABOUT HISTORICAL HEROS, BUT SHE WROTE ABOUT HERSELF, ABOUT HER OWN WOUNDS AGAIN AND AGAIN AND AGAIN BY TELLING THE STORY OF THOSE HISTORICAL HEROS. ABOUT THESE KIDS THAT WAS LEFT BEHIND FOR THE DREAM OF THE ESTABLISH OF THE STATE OF ISRAEL. THE ZIONIST DREAM. TO HELP THE HOLOCAUST SURVIVORS AND SHE’S GOT THE KIBBUTZ TO TAKE CARE OF HER.

MY DAUGHTER – SHE’S 12 YEARS OLD. I CANNOT IMAGINE WRITING SOMETHING TO HER LIKE THAT.

18:01 - BUT SHE GREW UP IN A GENERATION THAT THIS WAS PART OF WHAT PEOPLE DID. AND SO IN ONE HAND SHE’S REALLY ADMIRING THESE HISTORICAL FIGURES, BUT ON THE OTHER HAND, SHE KEEPS WRITING ALL THE PRICES THE FAMILIES OR KIDS PAID FOR THESE DREAMS. >> Yael Marx: YEAH. HOW DID YOU CHOOSE WHO TO INTERVIEW IN YOUR FILM AND HOW MUCH? >> Ron Omer: IT WAS A PROCESS. WE DID THE RESEARCH AND I KNEW THAT I WANTED TO BRING THE VOICE OF THE GENERATION OF THE READERS WHO READ HER BOOKS.

18:48 - AND I KNEW THAT I DON’T WANT TO BRING ACADEMIC PEOPLE THAT ARE GOING TO TALK ABOUT HER WRITING AND LITERATURE.

19:00 - I KNEW THAT I NEEDED SOMEONE THAT WOULD SPEAK ABOUT IT FROM AN EMOTION PERSPECTIVE, SOME THAT REMEMBERED THE FEELING OF LAYING ON HIS BED IN HIS ROOM AND READ THESE BOOKS AND CRYING. SO I FOUND PEOPLE THAT WRITE AND THAT WERE KIDS IN THIS TIME.

19:24 - >> Yael Marx: YEAH. >> Ron Omer: THEY ARE PART OF THE GENERATION. >> Yael Marx: AND YOU’RE NOT A LOT IN THE FILM, YOU YOURSELF.

19:32 - AND I WANTED TO SEE YOU MORE JUST BECAUSE I KNEW THAT I’M GOING TO INTERVIEW YOU AND I SAID, OH, HE WAS VERY, VERY – YOU DIDN’T PUT YOURSELF A LOT IN THE FILM.

19:44 - WAS IT A PROFESSIONAL DECISION OR EMOTIONAL OR BOTH? >> Ron Omer: IT WAS BOTH. IT WAS VERY HARD FOR ME TO SEE MYSELF IN THE FILM, AND I DIDN’T WANT TO TAKE A PART OF BEING SOMEONE THAT INTERVIEWED THE PEOPLE.

20:03 - AND TO BE ON CAMERA WHILE I’M INTERVIEWING. I DIDN’T THINK IT’S THE KIND OF FILM I WANT TO MAKE, AND I ALSO FELT THAT BY TAKING THE PART OF THE PERSON WHO IS READING THE TEXT FROM THE BOOKS, I’M PUTTING SOMETHING OF MYSELF INTO THE FILM. AND I THINK IT WAS RIGHT FOR ME – THE AMOUNT THAT I WAS SHOWN IN THE FILM.

20:36 - >> Yael Marx: AND YOU HAVE – MAYBE IT’S TOO EARLY, I DON’T KNOW – DO YOU THINK ABOUT YOUR NEXT DOCUMENTARY AS A DIRECTOR? >> Ron Omer: I AM. IT FELT GREAT. I WORKED ON THE FILM FOR TWO AND A HALF YEARS, AND WHILE I WAS ABOUT TO FINISH THE WORK, TO FINISH THE FILM, I WAS – ONE MORNING I WAS WAKING UP AND ALMOST WITH TEARS, TOLD MY WIFE WHAT AM I GOING TO DO NOW WHEN IT’S GOING TO BE OVER? AND IT WAS SO FULFILLING AND IT SWEPT ME AWAY, AND IT WAS A LIFETIME MISSION.

21:16 - AND, YES, I WANT TO DIRECT MORE. IT’S NOT GOING TO BE EASY TO FIND A PROJECT THAT IS GOING TO FILL ME IN THIS EXTENT. BUT HOPEFULLY IT WILL COME.

21:34 - >> Yael Marx: AND I THINK ARIANA IS GOING TO HELP US WITH THE Q AND A QUESTION NOW. IS IT OKAY TO YOU – YEAH.

21:44 - COMING IN FROM THE AUDIENCE. ACTUALLY TWO OF THESE QUESTIONS ARE SIMILAR, SO I’LL START WITH THOSE.

21:53 - ONE IS ABOUT WHY YOU THINK IT IS THAT YOUR DAUGHTER’S GENERATION DOESN’T READ DVORA OMER? AND IF THESE BOOKS ARE SORT OF – IF THEY COULD HAVE BEEN WRITTEN TODAY OR IF THEY ARE OF A TIME IN ISRAEL – WHICH I’LL LINK TO THE NEXT QUESTION FROM JAMIE – WHY ARE THE BOOKS NO LONGER READ IN ISRAEL? AND WERE THEY EVER SUCCESSFUL IN OTHER COUNTRIES? SO THE YOU CAN TALK ABOUT THE TIME AND PLACE OF YOUR MOTHER’S BOOKS. >> Ron Omer: FIRST, I THINK THAT KIDS READ LESS.

WE HAVE THE PHONES AND COMPUTERS AND ALL THE SCREENS THAT THEY ARE ADDICTED TO.

22:31 - BUT YOU KNOW MAYBE IT’S NOT RIGHT TO SAY, BECAUSE WHEN I WAS A KID, MY MOTHER ONCE WENT TO A PREMIER IN THE THEATERS, AND A JOURNALIST THAT WRITES A GOSSIP COLUMN CAME UP TO HER AND ASKED HER – MY DAUGHTER DOESN’T READ THE BOOKS. CAN YOU GIVE ME ADVICE WHAT TO DO? AND MY MOTHER SAID IF I HAD GOOD ADVICE, I WOULD USE IT ON MY SON.

22:59 - AND A WEEK LATER, THE HEADLINE IN THE GOSSIP COLUMN WAS DVORA OMER ADMITS THAT HER SON DOESN’T READ BOOKS.

23:07 - AND SO MAYBE THERE SOME KIDS THAT READ SOME OR DON’T, BUT THERE ARE ALSO THE THINGS THAT – THINGS ARE CHANGING, AND MAYBE KIDS DOESN’T WANT TO READ THESE KIND OF STORIES OR THESE KIND OF BOOKS ANYMORE. I KNOW THAT THERE ARE MANY THAT READ THEM TODAY, AND REALLY LOVE THE BOOKS.

23:38 - WE’RE TRYING TO PUT THEM OUT AGAIN WITH A BIGGER FONT, TO CHANGE THE COVER OF THE BOOK AND – AND THE BIGGEST CONFIRMATION I’M GETTING ABOUT THE FILM, THE PEOPLE WHO SAW THE FILM, THEY FEEL LIKE THEY WANT TO READ THE BOOKS AGAIN.

23:58 - AND HOPEFULLY THOSE PEOPLE WILL TELL THEIR KIDS ABOUT THE BOOKS. BUT NOTHING IS FOREVER AND MAYBE SOME OF THE BOOKS ARE NOT COMMUNICATING TODAY ANYMORE. AND WERE THEY READ IN OTHER COUNTRIES? >> Ron Omer: YES, SHE WAS TRANSLATED TO MANY LANGUAGES, EVEN TO JAPANESE, AND SHE WAS QUITE SUCCESSFUL WITH THE TRANSLATIONS.

24:33 - >> Ariana Cohen-Halberstam: I RESEARCHING HERE AND SOME OF HER BOOKS ARE AVAILABLE IN TRANSLATION AT THE HARVARD LIBRARY.

24:41 - SO FOR ANYONE AFFILIATED AND INTERESTED IN CHECKING THEM OUT – >> Ron Omer: I SAW A FEW OF THEM ON AMAZON. SO CHECK IT OUT.

24:48 - SO THERES ANOTHER QUESTION HERE ABOUT YOUR OWN RELATIONSHIP TO YOUR MOTHER AND HOW YOUR RELATIONSHIP TO HER CHANGED IN MAKING THE FILM.

24:57 - EITHER YOUR MEMORIES OF HER OR YOUR RELATIONSHIP TO HER WORK OR YOUR MEMORIES OF YOUR CHILDHOOD, DID YOUR RELATIONSHIP TO YOUR MOM CHANGE WHILE MAKING THIS MOVIE? >> Ron Omer: TO BE HONEST, NO. BECAUSE I DIDN’T START THE FILM FROM A POINT THAT I HAVE SOMETHING TO – UNFINISHED BUSINESS WITH MY MOM. I LOVED HER THE WAY SHE WAS.

25:20 - I WASN’T ANGRY ABOUT HER. SHE WAS A GREAT MOM. AND I NEVER FELT THAT SOMETHING IS MISSING IN MY LIFE.

25:28 - SO I DIDN’T HAVE TO DO, YOU KNOW, THIS TRIP IN ORDER TO FIND MYSELF IN ANOTHER POINT AT THE END OF THIS ROAD.

25:40 - AND YOU KNOW I’M STARTING THE FILM WITH THIS INTRODUCTION – INTERACTION WITH THIS PERSON THAT IS FIXING THE GRAVE, AND I’M TELLING HIM THAT MY MOTH R, SHE DOESN’T COME TO ME IN MY DREAMS. AND HE SENT ME TO HER PRIVATE ROOM, TO HER OFFICE, AND MAYBE SOMETHING WILL CHANGE.

26:05 - AND I MUST TELL YOU, SHE DIDN’T COME TO ME YET IN MY DREAMS. I’M STILL WAITING. BUT I DIDN’T NEED TO HEAL MYSELF IN THIS FILM. I JUST NEEDED TO TELL THIS STORY ABOUT THIS GREAT MOTHER, PERSON, AND AUTHOR.

26:30 - >> Yael Marx: CAN I JUMP IN AGAIN? I WANT TO ASK YOU, RON, ABOUT THE KIBBUTZ. THIS IS WHERE SHE GREW UP.

26:40 - YOU GREW UP NOT IN A KIBBUTZ, RIGHT, RON? NO. AND SHE GREW UP IN A KIBBUTZ. THE VALUES WERE – WERE VERY STRICT AND THEY HAD TO PROBABLY HIDE FROM YOUR MOTHER THE TRUTH ABOUT HER MOTHER’S DEATH.

27:06 - AND WHEN I THINK ABOUT IT, I GET REALLY, REALLY – IT’S SO DIFFICULT FOR ME TO IDENTIFY WITH THESE VIEWS, EVEN THOUGH I UNDERSTAND THE HISTORY. AND THE CONSEQUENCES, BUT WHAT DO YOU THINK ABOUT THAT? THIS PART OF HER LIFE.

27:26 - >> Ron Omer: MY MOTHER SAID THAT LIVING IN THE KIBBUTZ IN WAS THE PHYSICAL WAY AND ESPECIALLY THE EMOTIONAL ASPECT OF IT – PEOPLE DIDN’T TALK ABOUT THEIR EMOTIONS.

27:41 - YOU COULDN’T CRY IN PUBLIC. AND NOBODY UNDERSTOOD THAT A CHILD, 11 YEARS OLD, CAN BE CONFUSED AND NOT TO REALLY UNDERSTAND WHAT HAPPENED WITH HER MOM.

27:55 - SO THERE IS NO ONE TO BLAME. IT WAS A DIFFERENT GENERATION.

28:02 - MY MOTHER ALWAYS TOLD ME AND TO MY BROTHER AND SISTER, THERE IS NOTHING TO BE AFRAID TO ASK.

28:08 - AND SHE WAS AFRAID TO ASK WHAT REALLY HAPPENED TO MY MOTHER? I DON’T REALLY UNDERSTAND. AND ONLY AT THE AGE OF 35 SHE FOUND OUT. AND THERE IS NO ONE TO BLAME BECAUSE THEY DIDN’T KNOW SHE WAS MISUNDERSTOOD WHAT HAPPENED. THEY DIDN’T UNDERSTAND THAT KIDS GOT – NEED TO BE APPROACHED DIFFERENTLY.

28:37 - IT WAS A DIFFERENT WORLD. >> Yael Marx: RIGHT. AND ALSO IT CONNECTED WITH HER FATHER TELLING HER, COME ON, I HAVE THIS MISSION OF THESE KIDS FROM THE HOLOCAUST, THE SURVIVORS, THE YOUNG – THEY DON’T HAVE ANY FOOD. THEY DON’T HAVE ANY CLOTHES. YOU HAVE KIBBUTZ AND THEY WILL TAKE CARE OF HER. AND I DON’T THINK HE WAS VICIOUS, THIS WAS JUST PART OF HIS MISSION.

29:07 - >> Ron Omer: YOU KNOW, SHE NEVER FOR GAVE HIM ABOUT THAT: THEY HAD RELATIONSHIPS AND HE EDITED A FEW OF HER FIRST BOOKS, BUT SHE NEVER FORGAVE HIM ABOUT THAT.

29:23 - AND I CAN UNDERSTAND HER. >> Yael Marx: DID SHE CONFRONT HIM ABOUT THIS QUESTION? >> Ron Omer: NO, SHE COULDN’T. SHE COULDN’T.

29:35 - THERE FROM THE AUDIENCE ABOUT THE FOOTAGE OF YOUR MOTHER STARING INTO THE CAMERA WHICH WAS SO POWERFUL, WHERE AND HOW WAS THIS TAKEN? >> Ron Omer: THIS FOOTAGE WAS PART OF A VIDEO I WANTED TO MAKE 20 YEARS AGO. I SHOT A FEW OF MY FRIENDS AND I ASKED MY FATHER AND MOTHER ALSO TO COME TO THE STUDIO AND AS MANY GOOD IDEAS I FINISHED WORKING ON IT AND I DIDN’T DO ANYTHING WITH THAT. AND IT WAS IN MY DRAWER IN ONE OF THE DRAWERS IN THE HOUSE.

AND WHEN I WAS APPROACHING TO WORK ON THIS FILM, I KNEW I HAD THIS TAPE.

30:21 - I WAS VERY, VERY HAPPY TO FIND THIS CLOSE UP OF MY MOTHER. I FELT IT’S LIKE THE DNA OF HER SOUL.

30:31 - >> Yael Marx: YEAH, IT IS VERY STRONG. IT IS VERY, VERY STRONG. >> Ron Omer: I DON’T KNOW IF YOU PAY ATTENTION, I’M USING THIS SHOT FOUR TIMES IN THE FILM. EACH TIME IT’S A DIFFERENT PART OF THE SHOT.

30:46 - AND IN THE LAST TIME, I’M USING IT, THE END SHOT OF THE FILM, SHE’S SMILING. AND WRINKLE HER EYE AND THIS IS THE ONLY TIME SHE SMILES IN THE FILM.

30:58 - WHAT AN AMAZING GIFT TO YOURSELF TO HAVE SHOT THIS AND BE ABLE TO USE IT. >> Ron Omer: YES.

31:06 - THERES A QUESTION ABOUT DVORA’S STEPFATHER. DID HE CONSIDER RAISING HER AS PART OF HIS FAMILY? >> Ron Omer: SHE TRIED TO GO TO LIVE WITH THEM FOR AWHILE, BUT HE WAS A VERY, VERY TOUGH PERSON. HE HARDLY SPOKE BEFORE HIS WIFE DIED AND HE SPOKE – HE SPEAK COMPLETELY AFTER SHE DIED AND SHE DIDN’T FIND HERSELF THERE.

31:34 - AND SHE STOPPED COMING TO THEIR ROOM IN THE KIBBUTZ – WE SAY ROOM – TO THEIR HOUSE. SHE STOPPED COMING THERE.

31:40 - AND IT DIDN’T WORK OUT. SHE WAS ALONE. SHE WAS ALONE IN THE KIBBUTZ, BUT I BELIEVE THIS IS WHAT MADE HER DVORA OMER. THIS IS WHAT MADE HER A PERSON THAT WRITES STORIES.

31:56 - >> Yael Marx: RIGHT. I WANT TO ASK A QUESTION ABOUT THE NAME OF THE MOVIE. IT’S BEAUTIFUL, BOTH IN HEBREW AND IN ENGLISH. AND ALSO RAIN IN HER EYES, RIGHT, HOW DID YOU COME – HOW DID YOU COME TO THIS BEAUTIFUL NAME? >> Ron Omer: MY MOTHER ALWAYS SAID ABOUT HERSELF THAT SHE IS A GIRL WITH RAIN IN HER EYES.

32:25 - DON’T DO THIS OR DON’T PUT ME IN THIS SITUATION, YOU KNOW WHAT’S GOING TO HAPPEN – I’M GOING START CRYING BECAUSE I HAVE RAIN IN MY EYES. SO AT THE BEGINNING I THOUGHT ABOUT A DIFFERENT NAME, BUT IN THE MIDDLE I UNDERSTOOD THIS IS THE NAME FOR THE FILM. >> Yael Marx: THIS IS PART OF BEING VERY SENSITIVE AS A KID, YOU NEED TO BE A LITTLE BIT LIKE A GROWN UP AND A PARENT, I LITTLE BIT, RIGHT? TO NOT GIVE HER THE TRIGGER TO CRY TOO MUCH.

33:01 - AM I RIGHT? >> Ron Omer: YEAH, YEAH. >> Yael Marx: I HAD ANOTHER QUESTION – AND I FORGOT WHAT IT WAS. DO YOU HAVE ANOTHER ONE, ARIANA? I DO, I SORTA INTERESTED IN OF THE LEGACY OF STORYTELLING, YOUR MOTHER WROTE HER STORIES AND YOU’RE TELLING STORIES THROUGH FILM AND EDITING AND NOW THROUGH DIRECTING.

33:26 - DO YOU SEE IT AS A CONTINUATION OF HER WORK? >> Ron Omer: I DO, YES. BECAUSE WHEN I WAS YOUNGER, I THOUGHT I REALLY LIKE MY FATHER – I’M REALLY LIKE MY FATHER. AS I GREW UP AND I FIND MYSELF ALONE IN A CLOSED ROOM FOR MANY, MANY HOURS A DAY, TELLING STORIES, I UNDERSTOOD WE’RE DOING A LITTLE BIT THE SAME.

33:54 - SHE WROTE HER OWN STORIES. I MOSTLY PAINT WITH SHOTS THAT OTHER PEOPLE SHOOT OR DIRECT, BUT I FEEL LIKE I’M CREATING STORIES. I REALLY LOVE EDITING.

34:09 - AND IT’S VERY CLOSE TO WRITING. AND I AM WRITING WITH MATERIALS, WITH FILMS. AND MY MOTHER SAY IN THE FILM, THERE IS FOOTAGE FROM AN ARCHIVE IN BLACK AND WHITE.

34:26 - SHE’S SAYING THAT SHE’S WRITING BOOKS BECAUSE SHE BELIEVES THAT THERE ARE SOME PEOPLE THAT WE MUSTN’T FORGET.

34:34 - AND WHEN I FINISH THE FILM, I UNDERSTOOD THAT I DID THE SAME I WROTE A FILM SO MY MOTHER WOULDN’T BE FORGOTTEN.

34:47 - YOU KNOW, I STARTED THE FILM WITH RENOVATING HER GRAVE STONE, AND I UNDERSTOOD THAT THIS FILM IS A MEMORIAL FOR HER. >> Yael Marx: CAN YOU TELL ME A LITTLE BIT HOW WAS THE ROOM THAT SHE WAS WRITING IN, HOW DID IT LOOK? WAS IT A BIG WINDOW? NICE LIGHT? CAN YOU GIVE US SOME – >> Ron Omer: IT WAS LIKE IT WAS SHOWN IN THE FILM. IT’S NOT THE ORIGINAL ROOM. WE – THE ORIGINAL ROOM IS NOT AVAILABLE AS IT WAS.

35:26 - SO WE DID IT QUITE THE SAME. >> Yael Marx: UH-HUH.

35:33 - >> Ron Omer: IT’S A REAL MEMORY OF ME GOING EVERY MORNING TO SCHOOL OR KINDERGARTEN AND COMING BACK AT NOONTIME, AND ME PASSING THE WINDOW AND SEEING HER WRITING. >> Ron Omer: AND TYPING. IT LOOKED LIKE SHE WAS REALLY IN A DIFFERENT WORLD.

35:59 - >> Yael Marx: I HAVE ANOTHER ONE. ARIANA>>:GO FOR IT >> Yael Marx: I WANTED TO ASK IF YOU HAVE A FAVORITE BOOK FROM HER? THAT YOU LIKED THE BEST. >> Ron Omer: YES, I THINK SO.

36:13 - IT’S CALLED SUDDENLY IN THE MIDDLE OF LIFE.

36:19 - IT’S NOT ONE OF THE CLASSICALS, BUT IT’S A BOOK I REALLY LOVE. >>ARIANA: DO YOU READ HER BOOKS TO YOUR CHILDREN? >> Ron Omer: I TRIED TO. I DON’T KNOW IF THEY ARE DOING IT TO ME ON PURPOSE, BUT THEY PREFER SOMETIMES OTHER BOOKS, BUT I HAVE NOW MY YOUNGEST, SHE’S ONE YEAR AND SEVEN MONTHS, AND SHE REALLY, REALLY LOVES THE BOOKS OF RON FELL AND HURT HIS LEG.

36:52 - SHE’S REALLY INTO IT. SO SHE’S GIVING ME SOME COMFORT. ARIANA>: AND YOU SAID YOU DID’NT READ HER BOOKS AS MUCH WHEN YOU WERE YOUNG. WHAT WAS IT LIKE TO HEAR HER VOICE ON THE PAGE VERSUS WERE YOU ABLE TO READ HER BOOKS WITHOUT THINKING THIS IS MY MOTHER TALKING TO ME? >> Ron Omer: I READ SOME OF THE BOOKS WHEN I WAS A CHILD AND THE REST I READ LATER ON.

37:21 - AND I’M TALKING TO YOU FROM MY EDITING ROOM. SO HERE I SPENT THE TIME EDITING THE FILM, AND IT WAS ALL COVERED WITH MY MOTHER’S BOOKS, AND EVERY TIME I NEEDED TO LOOK FOR SOMETHING THAT CAN BE IN THE FILM, I JUST LIKE – YOU KNOW, OPENED AND CLOSED MANY, MANY BOOKS. AND THERE IS SOMETHING ABOUT MY MOTHER’S WRITING THAT I CAN HEAR HER VOICE. IT’S SOMETHING THAT I BELIEVE ALSO MY BROTHER AND SISTER CAN FEEL. HER WORDS, IT’S HER OWN WORDS.

37:59 - SOMETHING LIKE IT’S VERY FAMILIAR TO ME. ARIANA>>:WELL, WHAT A GIFT AND THANK YOU FOR MAKING THIS FILM AND SHARING HER VOICE WITH US ALL. AND WITH THIS AUDIENCE IN BOSTON AND WITH THE NEW GENERATION.

38:17 - I’M SURE THAT THE FILM WILL BRING A WHOLE NEW GENERATION OF READERS TO YOUR MOTHER’S WORK.

38:24 - SO THANK YOU AND THANK YOU FOR JOINING US AND THANK YOU YAEL FOR THE BEAUTIFUL CONVERSATION.

38:29 - >> Ron Omer: THANK YOU, EVERYBODY. THANK YOU SO MUCH.

38:33 - ARIANA>>:THANK YOU EVERYONE FOR JOING US. THE FILM IS AVAILABLE THROUGH MARCH 10TH. SO PLEASE TELL YOUR FRIENDS TO WATCH IT IF THEY HAVEN’T YET AND THIS CONVERSATION WILL BE AVAILABLE FOR THEM TO HEAR AFTER THE FILM.

38:44 - SO HAVE A GOOD AFTERNOON AND WE WILL HOPEFULLY SEE YOU ALL AT 4 P. M. THANK YOU AGAIN YAEL. THANK YOU, RON.

38:52 - >> Ron Omer: BYE, THANK YOU. .