On the 75th anniversary of the country, the docu-series "The Myth Machine" set out to slaughter some mythical cows that walked among us.
She returned with four episodes dealing with the narratives we grew up with, and now manages to play with our brains and collective consciousness - but you should be careful not to fall for the well-known trick and ploy that comes from the realms of our filmmakers: self-flagellation.
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As a country that is trying to understand how it became a myth and did not disappear in its first years, the country asked us to raise our eyes to heroes and values, and to accept their story as seen and sacred.
And we sewed on the clothes and tattooed symbols on our hearts without careful examination.
Director Uri Rosenwax chose to look inside, and found quite a few distortions in each of them.
"Those who watch the four episodes will get many answers to the question of why we got to this situation," promises Rosenwax.
So I saw, and I don't think myths play a big part in that.
But I also refuse to define "this situation" as more than a "what happened to us?" campaign.
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Myths do not do justice.
and why?
Because in everything that reaches the level of a myth, you can find compromises on concepts, injustice towards someone and interests.
When working with D9 to dismantle those myths, our story here and that of Zionism as a whole almost becomes a dark conspiracy.
One can question what Hebrew work really is, how much truth there is in the call to the flowering of the wilderness and what came out of the melting pot - but the desire to produce a subversive narrative revealed the motivation to complain about everything, and made the objective problems that the myth had to deal with disappear.
The occupation, of course, plays a major role in the myths that gave impetus to the Zionist enterprise;
The Ashkenazi factory was only concerned with trampling the black factory workers;
And we will also get a taste of how religion and the religious have only done us all harm.
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For its kind - this is an invested and in-depth document.
The beautiful moments were born from a comprehensive investigation, and include quite a few blowing the establishment's whistle and slaughtering those cows.
On the other hand, the series is slow and not always user-friendly.
The interviewees sit alone on a chair, in a white room on a piece of land with some olive tree - they watch archive clips on floating screens, and everything looks like an unpleasant dystopian experiment.
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