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Aufgenommen in die Epilepsie-Filmographie von Kerson, Toba et al.: Implacable Images: Why Epileptiform Events Continue to be Featured in Film and Television, http://www.ncbi.nlm.nih.gov/pubmed/16793571
http://www.john-libbey-eurotext.fr/en/revues/medecine/epd/e-docs/00/04/1B/94/article.md
from Toba Kernson's notes: Bauman attacks Phares coming out of his house. Bauman has a seizure, Phares and the young woman take him into the trailer, and among other things, place a clothes pin on his tongue. When the Professor regains consciousness, Pares, says, “Good morning! Is the genie gone?” Another scene - Professor Bauman man calls Phares, “Thief, crook, leech!” They begin to fight because Phares has planted orange trees in the yard in front of the trailer. Begins a seizures and Phares says, “What again. He’s got the genie again.” Continue until the conversation between the young woman and the taller man. She says something like “How long have you had these?” He answers, “5 years. . . then I did it in front of my class.” In the 1930’s, the architecture of the Bauhaus was very commonly used in Tel Aviv where the film takes place and it is some of the building from the ‘30’s that his father designed that the professor who has epilepsy is trying to save. Also, “The Flying Camel was a symbol of a trade fair held in that city during the same era. It is thought that the expression in Hebrew is like “When pigs can fly” meaning some thought that the fair could not succeed. Ultimately the film attempts to make very personal the relationships between Jews, Muslims and Christians or more broadly between many cuts on culture.
Einer der Helden des Films, Baumann, ein sympathisch durchgeknallter ehemaliger Universitätsprofessor, versucht, Reste eines von seinem Vater gebauten Hauses im Bauhausstil vor dem Abbruch zu retten. Dabei trifft er auf Phares, einen palästinensischen Müllarbeiter, der in Tel Aviv nach dem verlorenen Orangenhain sucht, der einst seinem Vater gehörte. Gemeinsam machen sie sich auf die Suche nach der Statue eines Kamels, dem Symbol der »Levante-Fair« von 1930. Damit wir uns nicht langweilen, taucht Gina, eine italienische Nonne, auf. Zu dritt finden sie die Flügel des Kamels und wollen diese als ein Denkmal der Rekonstruktion der vergangenen Zukunft mitten in Tel Aviv für alle sichtbar machen................ Eine bestechend-schräge Komödie – auch über die Notwendigkeit, den israelisch-palästinensischen Friedensprozess voranzutreiben. (fs)
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