#SHORTVIEW: “Fake It” by Tzurit Hartzion


Zohar must get more photos for her exhibition, so she asks Ella, her ex, to remake the things that happened to them when they were together.


> The biggest theme in your short film is the reenacting of the past. Why did you choose to portray this as a photography process?

For me, the moment that I gave my protagonist the possibility of “reconstructing” the past by means of photography, I also gave her back some kind of control over her own life. After a very painful separation, there is this strong feeling of losing control, and with it comes a strong desire to turn back the passing of time, and maybe act differently – and I wanted to give my protagonist this opportunity, to see how it would turn out.

Thanks to this photography process, she can “re-direct” her life, even though she will never control the final result. It’s true that she has obviously hoping for a different ending, but at the very least, she got the chance to experience real closure. And sometimes, that’s all you need to keep moving forward and not remain stuck in the past.

> Why do you think we’re so attached to the past?

When we think of a moment in the past, we are almost always immediately flooded by all the emotions that we felt in that specific moment, and we re-live the happiness, or excitement, or sadness that may come with it – or, at the very least, a part of that.

Usually, though, these feelings come through a kind of filter of softness and forgiveness. We are willing to forgive a lot of things when time fills the distance, because in the process of moving forward we usually forget about the negative emotions, and only retain the general “vibe”. When we re-live these moments, we feel like coming home, like coming back to a kind of war, safe, stable place: what’s going to change about the past, after all?

Contrarily, on the contemporary world and reality, everything seems to change so rapidly, everything is evolving to such a rapid pace, and very few things lasts stable for long.

> Homosexuality in cinema almost always gets a bad ending – why does your short story follow this trend?

In the first drafts of the script, the story ended in a good way, with a reconciliation of the characters and a final promise to stay together – but I had this feeling that, if that would be the case, my protagonist would not learn anything from the experience. What usually happens in our own lives is that we go through the same mistakes over and over until we learn a lesson that forces us to change, and for me, that was what I actually wanted to tell.

However, I would not say that homosexuality should be taken into account in this decision: for me, the sexual orientation of the characters is not so important, and nobody in the short film makes this a good nor a bad point in any way. The relationship between the characters, homosexuals as they may be, was something normal to me. As for the trend itself – I think it may come from a general social disapproval that still lingers on. Unfortunately, people still do not perceive homosexuality in the same level of “legitimacy” as heterosexuality, which is, you know, really dumb.

Tzurit “has always been” and “will always be” interested in relationships as a human experience, and, in her own words, they will continue to be “a central theme” in her next films.