Exclusive Interview: Eliav Lilti on Independent Cinema, Unfiltered Truths, and Political Art

By QueerFilmHub Team
Eliav Lilti is an acclaimed Israeli filmmaker known for his uncompromising artistic vision, ranging from psychological indie fiction like A Urban Tale (2012) to profound archival documentaries and political series like Awakening and The Bankers Trial. In this exclusive Q&A, Lilti reflects on collective memory, uncompromising storytelling, the quiet depression of comedy icons, and why independent filmmakers must trust their gut above all else.
1. On Narrative Boundaries & Found Footage
QueerFilmHub: In works like Israel: A Home Movie and your biographical documentaries, you rely heavily on archival material and personal histories to tell broader societal stories. How do you balance the intimate, subjective narrative of an individual with the larger collective memory of a nation?
Eliav Lilti: I’m not sure there really is such a thing as a collective memory, a single history, or one version of the truth. History, as we know it, is written by the victors—it certainly isn’t an absolute truth. That’s why I’m always much more interested in how each person experiences reality firsthand. In the end, it’s the personal, lived experience that really matters. To me, the national story is worth showing only as an ironic mirror to the personal one.
2. On Provocative Storytelling in Cinema
QueerFilmHub: Your feature film A Urban Tale was recognized for its bold, raw, and unfiltered portrayal of human dynamics and modern urban tension. What draws you to stories that challenge audience comfort zones, and how do you approach risk-taking in narrative fiction?
Eliav Lilti: That was a very deliberate decision I made when embarking on the film, and because of it, I knew I could only make it as an independent production.
It actually started when I spent a long time searching for a screenwriter who could connect with my ideas. When I couldn't find someone I felt I could clearly convey my vision to, I realized that instead of wasting time explaining it to someone else, the simplest thing would be to write it myself. I decided not to censor myself and just write straight from the gut. There’s a piece of me in every monologue in that film—a connection to an event or a specific period in my own life.
At first, people who heard about the monologue-driven structure thought there was no way it could work. But when they actually read the script, they suddenly remembered similar situations from their own lives and could deeply relate to them. Either way, I made a conscious choice: I was going to make a film that wasn’t built to be a crowd-pleaser.
3. On Capturing Cultural Icons
QueerFilmHub: Documenting legendary figures like Ephraim Kishon requires peeling back layers of public persona to uncover internal vulnerabilities. What was the most surprising discovery you made about Kishon's inner world during the directorial and editing process?
Eliav Lilti: What surprised me most about Kishon was discovering that he struggled with depression throughout his entire life. Of course, he had every reason after everything he endured during World War II, but from the outside, you always had the feeling that he had overcome it—especially considering the legendary comic plays, films, and books he created.
In reality, he never stopped looking for remedies, vitamins, and medications to overcome his existential depression. He once told an anecdote about meeting Danny Kaye at a party in Hollywood. At the time, Danny Kaye was considered one of the funniest people in the world, yet Kishon described him standing alone in a corner, keeping entirely to himself—a sad clown. Kishon identified with him very strongly.
4. On Social Resistance and Systemic Critique
QueerFilmHub: From Awakening to The Bankers Trial, a recurring thread in your work focuses on civil resistance, power structures, and economic accountability. Do you view filmmaking primarily as an artistic expression, or as a tool for political and social intervention?
Eliav Lilti: I'll be very naive here and say that, beyond the obvious idea of creating art for art's sake, I am one of those people who genuinely believe that art can make a real difference.
I say that because I remember the specific works that influenced my life and changed its entire course. When I was sixteen, if I hadn't read Joseph Heller's Catch-22, I might still have believed that joining the military was an inherently good thing. Art shapes perspectives.
5. On Advice for Independent Filmmakers
QueerFilmHub: As a director who moves fluidly between independent feature films, documentary series, and visual arts, what core advice would you give to emerging filmmakers working outside mainstream studio systems today?
Eliav Lilti: Here too, I may sound a little romantic, but I still believe this with all my heart: when you're making a film or any creative project, follow what your heart and your gut are telling you. That is the single best compass you have. Your gut feeling never lies, and it always leads to the best artistic results.
In other words: stick to your own truth, even when the price is high. Stay stubborn. Keep banging your head against the wall until it breaks.