Celebrated Israeli director Eran Riklis, recognized for his humanistic films set in the Middle East such as “Lemon Tree,” “The Syrian Bride,” and the recent “Reading Lolita in Tehran,” expresses his anger and frustration over the current political leadership in Israel. This situation has prompted nearly 4,000 figures from the entertainment industry to boycott Israeli film institutions, which are perceived as being “complicit in war crimes” in Gaza.
Riklis has been chosen to participate in the Tallinn TV Beats Co-Financing Market (Nov. 7-8) to present his upcoming television drama “The Abduction of Yossele Schumacher,” which is being produced for Israel’s commercial channel Keshet 12.
The director is keen to find European collaborators in Tallinn for this six-part thriller. He is hopeful that the negative sentiments towards Israel in some parts of the global industry will not hinder his ambition to create yet another work that aims to foster connection among people.
“Israel is currently facing political challenges, and I wish that such matters won’t obstruct my ability to produce this series,” he shares in a video call with Variety from his home in Tel Aviv. Riklis also expresses regret over the controversy surrounding Israel’s Oscar submission, “The Sea,” which portrays a young Palestinian boy’s perilous journey to the beach in Tel Aviv, and the subsequent threat from Israel’s culture minister, Miki Zohar, to withdraw funding for the Israeli Film Academy.
“I mentored Shai Carmeli Pollak, the director of ‘The Sea,’ during his time at the Sam Spiegel International Script Lab. I was moved by the story and encouraged him to take it on. After watching the film at the Jerusalem Film Festival, I found myself in tears for an hour and a half. It’s a beautifully simple yet intricate narrative.
The fact that the Israeli Film Academy selected it as an Oscar entry took me by surprise, but it’s truly the best representation of Israel’s cinematic voice at the moment. Competing in the Oscar race with such a story is a positive step,” Riklis emphasizes, firmly believing that artistic endeavors can transcend political divisions and that storytelling has the power to open hearts and minds.
“I strive to stay optimistic as a filmmaker,” remarks Riklis, who served as a soldier during the Yom Kippur War in 1973 and lost several close friends. “I faced the Egyptian army for months in a devastating conflict. However, who could have predicted that just a few years later, in 1979, Egyptian President Anwar Sadat would sign a peace accord with Israeli Prime Minister Menachem Begin, known for his far-right views? These historical events remind us that there are always individuals working toward positive change, and we must hold onto hope.”
Credit: Marie Gioanni
Thriller series inspired by real events
Following “Reading Lolita in Tehran,” which explored women’s resistance against the oppressive regime in Iran, Riklis’ next venture, “The Abduction of Yossele Schumacher,” delves into another realm of religious extremism that resonates closely with the filmmaker.
The narrative is based on the true story of Yossele Schumacher, a seven-year-old Jewish boy abducted by his ultra-Orthodox grandfather in the early 1960s to prevent him from being raised as a secular Jew by his parents. After an intensive international search led by Israel’s Mossad lasting almost two years, the boy was ultimately located in the U.S. and returned to his parents. The logline tells that the abduction “triggers a clash among three women over his fate and faith, leading to a fierce conflict between the Israeli Mossad and the insular Orthodox community.”
Riklis, who was only six or seven when the events unfolded, vividly recalls the case that sparked debates within Israeli society. “What started as a minor family issue rapidly escalated into a national conversation dividing the secular and ultra-Orthodox communities in Israel. Our Prime Minister at the time, Ben Gurion, feared the case might instigate a civil war, prompting him to enlist Mossad’s intervention,” Riklis reflects. “Until three and a half years ago, there hadn’t been any documentary made about it, and the Yossele Schumacher case felt like an important memory fading away. Then I spoke to someone who mentioned it, reached out to Yossele, and he enthusiastically agreed to allow me to adapt his story for television.”
To bring this story to life, Riklis approached accomplished screenwriter Moshe Zonder, known for “Fauda,” Apple TV+’s “Tehran,” and the award-winning series “The German.” Having collaborated previously with Riklis on “Zohat” (1993) and “Vulcan Junction” (1999), Riklis felt Zonder would be an ideal co-creator and co-writer for the series. “I believe Moshe’s talent in balancing both drama and suspense makes him a perfect fit, so I was thrilled when he agreed to join the venture,” Riklis shares.
Exploring the storyline further, Riklis explains that “the principal dramatic arc centers around the search for the boy, but the series will weave in three intertwining dramatic threads. At its heart will be the stories of three profound women: Madeleine Feraille, Yossele’s abductor and a former French resistance fighter who converted to Judaism post-WWII; Yossele’s mother, Ida Schumacher; and Mossad agent Judith Avrahami. Each of these women is dealing with the loss of a child in different ways. This, I believe, will be the emotional core of the series,” Riklis elaborates.
“The second layer will present the thriller aspect through the Mossad’s hunt for Yossele, spanning Israel, Italy, Germany, France, England, and the U.S. It’s designed to keep viewers on the edge of their seats, reminiscent of a Liam Neeson thriller,” promises the filmmaker. The third element will address the intricate socio-political backdrop, incorporating themes of oppression, liberalism, faith versus religion, as well as the conflict between secular law and religious observance—issues just as relevant today as they were sixty years ago.
“In the end, it’s a narrative about pain, love, parenthood, loss, faith, fanaticism, and the secrets and lies that permeate our lives on multiple levels,” adds the filmmaker, expressing confidence that the project has “all the essential elements to evolve into compelling, thought-provoking television.”
The estimated budget for this project is around €1.5 million ($1.7 million) per episode and will be produced by Riklis’ own Eran Riklis Production along with Moshe Edery from United King Films, one of Israel’s most renowned production and distribution companies and a long-standing partner of Riklis. Keshet 12, the commercial channel in Israel, is backing the project.
“At Keshet, we are dedicated to portraying Israeli narratives that encapsulate our distinct culture while resonating internationally,” notes Karni Ziv, head of drama and comedy at Keshet 12. “With Eran Riklis guiding this production, we anticipate a heartfelt family drama that maintains an engaging, suspenseful tenor, and we are eager to see its potential to connect with audiences both in Israel and abroad.”
Chosen as one of the eight projects for Tallinn’s TV Beats Co-Financing Market, which is part of the Tallinn Black Nights Film Festival’s Industry@Tallinn & Baltic Event, the series will compete for the esteemed Council of Europe Series Co-Production Development Award, valued at €50,000 ($58,700).
“In Tallinn, I hope to find co-producers who share my vision for this project. I am particularly on the lookout for partners from traditional funding sources—public investors, broadcasters, and also streaming services,” Riklis concludes, with sights set on beginning production in November 2026.
