New Israeli Horror
Published by Rutgers University Press, 2024. 220 pages.
By Olga Gersheson

There is nothing I love more than a doorway that opens up a whole new world to me when it comes to horror cinema. Whether it is a documentary or a book, especially one that its main focus is on a subject of the genre that I’m not familiar with, or maybe know a little, but don’t realize just how little I know. So, when I have the opportunity to venture into that unknown territory, I usually come out excited and anxious to dive into some of that subject matter. All of that encompasses what happened upon reading Gersheson’s book New Israeli Horror.

As I started reading it, I recognized a few titles and even seen a couple mentioned, such as Big Bad Wolves (2013). But then it hit me that several of the titles I had no idea where Israeli films! Nor did I realize the number of films that have come out from Israel in the last couple of decades. Boy did my To-Watch list start to grow.

One of the things I love reading about films from a different country is that they open up new ideas about the genre, new ways to look at a film, as well as what went into it for it to be made. We all know somewhat how the film system works here in the U.S., from low budget projects to the multi-million-dollar films from the big studios. But when you’re dealing with people making films not only outside of that system, but outside of the country, it makes it even more impressive. Then you start to wonder if the horror genre is received like it is here, as well as other countries.

What I enjoyed most about this book is that this isn’t one of those analytical thesis books where it strictly delves too much into the “meaning of it all” and hidden subtexts. It does cover the films, the making of them, who’s behind them, such as the creative teams. But then also goes into details on the different significant cultural meanings within the films. These are productions being made in a country known for war and constant threat of violence, yet the filmmakers continue on. Danny Lerner, director of Frozen Days (2005), talked about being a witness to a suicide bomber in 2001 that took the lives of 21 people. When he started writing Frozen Days, he included that in the story because he considered that to be an “Israeli experience” and that “this was our fear.”

We get to hear from many different filmmakers and why they decided to make the kind of film they did, their inspirations, and how most of them wanted to make sure that the films retained a sense of being from Israel, putting their own stamp on it, even though they might have been influenced by American films. We also get to hear how the movies were received, both in their home country as well as around the world, from different film festivals to online streaming markets.

I’ve always felt that while horror films are universal, it is the individual and what they are bringing to the table, from their upbringing, their beliefs, even their religion, that gives fans the chance to possibly see something different, scary, as well as still give a good storyline that can leave an impact.

I would suggest you have a notepad when you start reading this book because you will be adding more than a couple titles that you’re going to want to seek out. While they might not all be 5-star movies, which the author is honest in stating, I feel they are still worth seeing.