Selected Press/Film Review
Jerusalem Post, “Anat Zuria and the Lesson she learned”. Feb. 13, 2013
Haaretz, “A woman at the helm: Layla Ibrahim Musa embarks on a journey of survival”, Feb. 9, 2013
Takriv, Volume 5. “Women in the religious world in Zuria’s cinema” (Hebrew). 2012.
Takriv, Volume 5. “Interview with Anat Zuria” (Hebrew). 2012
Variety, "Black Bus: Film Review", Feb. 17, 2010
Midnight East, “Interview with Anat Zuria”, Mar. 5, 2010
Eretz Acheret, “Fellowship of the Rebellious” (Hebrew). Jan. 20, 2010
Off Screen, Volume 10, issue 7, “Women United: Sentenced to Marriage and Highway Courtesans”, July 2007
Tikkun, “A Feminist Perspective of the Ultra-Orthodox World”. Sep. 2006
Variety, “Sentenced to Marriage: Film Review”, July 2005
Nashim, A Journal of Jewish Women’s Studies and Gender Issues, “Purity: Film Review”, June 2004
New York: The Jewish Week, “Anat Zuria, Filmmaking with Purity”, Oct. 31, 2003
Selected Praises and Quotes
“Anat’s films are distinguished on an ethical level, since as a documentary film maker, she has the outmost respect for her subject of observation.” - Raya Morag, Professor of Cinema Studies, The Hebrew University, Letter to the Landua Pais Award committee, 2014
“The Lesson" bolsters Zuria's standing as one of the most riveting women in the local film world, and provides further proof of the power that can derive from a combination of elements borrowed from feature and documentary genres" - Nirit Anderman, Haaretz, 2013
"A remarkable documentary and visually striking film" - Jury remarks, Haifa Film Festival, 2012
“Zuria cleverly uses… restriction as an aesthetic merit making the form serve to underscore the content… Zuria [is] confident enough with her medium to at times express meaning entirely through form, like… the night time long shot of Tamara alone in her apartment, framed inside cell-like window bars –a striking visual metaphor for how she (and the other two women) are ‘imprisoned’ by Rabbinical law.” - Donoto Totaro, Off Screen, 2007
“Zuria… is highly sympathetic to the women (the men’s faces are blurred, and are depicted contemptuously), and finds some creatively dramatic ways to get around showing faces in the public court hallways, where emotions sometimes turn volcanic. Video documenting restores “reality” to its proper meaning. Emotions are wisely not manipulated by Jonathan Bar-Giora’s subdued score.” - Robert Koehler, Variety, 2005
“The serious and important subject is conveyed by a soft and calm voice, which does not need to raise its tone to talk forcefully. The film shows us the impact of fundamentalism and masculine pressure on the personal and intimate aspects of women’s life, whatever religion is concerned.”
- Jury remarks, YAMAGTA, 2003