Israel can do tender family drama, too. The Netflix hit Shtisel is about a Jewish orthodox father and son looking for love in Jerusalem’s traditionalist Geula neighbourhood. For any nation to produce so many high-profile series in so many genres would be impressive. However, that is doubly so in the case of Israel, with its population of just 8.8 million.

Being an underdog in world broadcasting has worked in Israel’s favour, says Allison Kaplan Sommer, of Tel Aviv daily newspaper Haaretz. Unlike the big US and British networks, Israel’s producers work within comparatively minuscule budgets and so think on their feet. That, she suggests, is why Israeli TV feels so plugged in to life as we live it today. There simply isn’t the money to stage a Middle Eastern Downton Abbey. TV must be utterly of the now.

“To get made, the concept, script and acting has to be excellent and creators have to think outside the box,” she says. “There’s no money to make fantasy/sci-fi like Westworld or Game of Thrones or a piece set in another century. Everything has to be here and now and current.”

Talking to German broadcaster Deutsche Welle, Keren Margalit, creator of TV drama Yellow Peppers, said: “The understanding is, if you can’t go wider, if you can’t explode anything or go big with special effects, you need to go inside. To go very, very deep and find real characters. I think a lot of Israeli television developed from this understanding.”

For foreign viewers, Israeli TV serves as a window into a country that is largely mysterious. The highest-profile example is Fauda. This story of an undercover Israel army unit engaged in a brutal game of cat and mouse with terrorists on the West Bank may sound cliched, but rather than taking sides or caricaturing the Israelis and Palestinians, Fauda paints a nuanced portrait of men and women locked in a cycle of perpetual conflict.


“It was actually something very new here, in that it wasn’t a white hat versus black hat story,” says Sommer. “The Israeli side was portrayed with all its flaws, and the Palestinians were fully formed characters and human beings, even the terrorists. And I think that twist is what gave it its appeal internationally, and showed the nuances of the conflict here.”

That same soulfulness defines lighter fare such as Beauty and the Baker. Like a gender-swapped Middle East Pygmalion, it tells of a scrappy baker who embarks on a romance with a worldly supermodel. It’s funny while providing an insight into the complex striations in Israeli society.

Within the global TV industry, Israeli television has been creating waves for some time. The US dramas Homeland and In Treatment were remakes of Israeli originals. With one or two exceptions, US adaptations of beloved British shows are unfaithful and unwatchable. Israeli TV, by contrast, seems to flourish when reworked by Hollywood. That has arguably given producers and writers the one thing all the budgets in the world cannot buy: self-confidence.

TV from Israel also has a cinematic quality. “Israel is so small, it can’t support separate film and television industries, and while there are a handful of directors who work only in films, most directors and all actors and crew members go back and forth between film and television,” says Hannah Brown, of The Jerusalem Post.

There’s also something appealingly unselfconscious about Israeli TV. Fauda is happy to borrow from the high-octane intensity of Hollywood: the very first episode begins in a flurry of hand-held camera action that could have come from a Jason Bourne film.

Five ordinary Israelis are identified as the kidnappers of an Iranian official in False Flag.

Five ordinary Israelis are identified as the kidnappers of an Iranian official in False Flag.Credit:SBS

Similarly, there’s a charming dollop of magic realism at the core of Shtisel. The story opens with a bravura dream sequence in which lovelorn Akiva (Michael Aloni) visits his local greasy spoon, only to encounter his deceased mother, covered in ice and dressed as an Eskimo.

“There’s a lot that goes on in Israeli life,” says Jessica Steinberg, of The Times of Israel. “It’s a small country that’s fought hard to retain its place and is made up of people from many different nations.

“It’s also a very tight-knit country because of its small size and the melting pot created by everyone serving in the army. All ingredients that make for intense situations, stories and outcomes. They have filmed entire seasons of Fauda for the same budget as one episode of an American TV series. That’s true of many Israeli series. They make do with what they have.”

A Jewish orthodox father and son look for love in the tender family drama Shtisel.

A Jewish orthodox father and son look for love in the tender family drama Shtisel.Credit:Netflix

The Best Israeli Shows to Watch

Fauda (Netflix)
“Chaos” in Arabic, Fauda (now in its third series) chronicles a bloody game of cat and mouse between Israeli counter-intelligence soldier Doron (Lior Raz) and a Hamas terrorist “The Panther” (Hisham Suliman).

Beauty and the Baker (Amazon Prime)
Recently dumped by his girlfriend, a commitment-phobic baker (Aviv Alush) enters into a whirlwind romance with an international model (Rotem Sela). But can their fledgling relationship survive a nefarious campaign to drive them apart?

Shtisel (Netflix)
A father (Dov Glickman) and son (Michael Aloni) negotiate their multi-layered relationship as each goes in search of romance. As if that weren’t complicated enough, they must also obey the strictures of their Orthodox Jewish faith.

Srugim (Amazon Prime)
The country’s answer to Friends, this comedy follows young people dealing with the complexities of modern life in contemporary Israel.

The Sunday Telegraph

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