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Yes Studios (“Fauda”) will be launching “Embassy Down,” a riveting six-part thriller from the creator “Your Honor,” at Series Mania in Lille.

Inspired by true events, “Embassy Down” unfolds in 2011 and charts the takeover of the Israeli embassy in Cairo’s Tahrir Square in Egypt, amid the Arab Spring, a time of revolts in Arab countries. The character-driven series follows five Israelis who became trapped inside the Israeli embassy for 24 hours, while thousands of angry demonstrators tried to break in by taking down the embassy wall.

“Embassy Down” was shot in Hebrew, Arabic, English and French. It has been written and co-created by Shlomo Moshiach whose best-known credits include hit series such as “Your Honor” and “The Beauty Queen of Jerusalem.

The strong international cast is led by Sean Softi (“Checkout”), Maor Schwietzer (“Shtisel”), Yael Elkana (“The Chef”), Ran Kaplan (“Superdaddy”), Yoel Rozenkier (“The Commune”), Ali Ali (“The Beauty Queen of Jerusalem”), Hisham Suliman,...

Fox Entertainment Studios is developing the first scripted series representation of the Oct. 7, 2023, attack on Israel, sharing the real-life accounts that emerged from the dark day in the country’s history.

Premiering this October, the four-part anthology series, “One Day in October,” centers on four gritty and unflinching narratives of love, courage, survival and loss. From parental sacrifice and joyful moments turning to torment, to beacons of hope in the heart of chaos, each story reveals profound truths about the senseless carnage of Hamas’ assault, the visceral emotions it released and, as each victim’s world unraveled around them, the perseverance and sheer heroism required to survive.

“’One Day in October’ is among the most powerful projects I’ve seen, let alone been involved with,” head of Fox Entertainment Studios Fernando Szew said in a Monday statement. “Beautifully filmed, yet gut-wrenching, these are stories of people at their best in the midst of unimaginable,...

Exclusive: As the anniversary of October 7 approaches, the first scripted series about the devastating attack has emerged.

Fox Entertainment Studios and Israel’s yes TV are co-producing One Day in October, a four-part anthology series which the pair are calling the “first scripted representation of the personal stories that emerged from Oct. 7.”

Created by Oded Davidoff and Daniel Finkelman, the drama series, which is filmed on location in Israel, centers on four narratives of love, courage, survival and loss. From parental sacrifice and moments turning to torment to beacons of hope amid chaos, each story reveals profound truths about the “senseless carnage of this assault,” according to its backers. Cast includes Swell Ariel Or (The Beauty Queen of Jerusalem), Noa Kedar (The Malevolent Bride), Naomi Levov, Hisham Suliman, Wael Hamdoun (Fauda), Yuval Semo, Avi Azulay (Testament: The Story of Moses), Naveh Tzur and Yael Abecassis.

On October 7, Hamas militants stormed into Israel attacking, amongst other places, a number of kibbutzes and the Nova Music Festival, killing around 1,200 people and taking more than 200 hostage, of which only around half have so far returned and a number are presumed dead. The attack was the catalyst for the Israel-Hamas War, which has so far seen the deaths of around 40,000 people in Gaza, according to the Hamas-run health ministry.

One Day in October is one of the first projects for Fox Entertainment Studios banner Tideline, which Deadline revealed was launching earlier this year at Sundance. The anthology, which is being produced by Finkelman’s New York-based production company Sparks Go and Israel’s Zoa Films, will premiere on yes TV in October and be distributed globally by Fox Entertainment Global.

“One Day in October is among the most powerful projects I’ve seen, let alone been involved with,” said Fernando Szew, head of Fox Entertainment Studios. “Beautifully filmed, yet gut-wrenching, these are stories of people at their best in the midst of unimaginable, horrible circumstances. The survivors portrayed in this series allowed for their horrific experiences to be represented by wonderful talent — both in front of and behind the camera – which will invite the audience to ultimately feel their profound love of, and for, life.”

Finkleman added: “Our goal with this series is to capture and convey the picturesque kibbutz and euphoric music celebration that abruptly crumbled into incomprehensible nightmares. Thanks to the unwavering support of Fernando, Hannah and Tideline, I think we’ve achieved that vision and were able to create this four-part series from start to finish within a year, which is almost unheard of for any production.”

There are already a couple of movies in the works about October 7 and its aftermath including Dani Rosenberg’s Of Dogs and Men, which will world premiere at Venice, while several documentaries are being made about the attack. One Day in October also has shades of Ukraine War anthology series Those Who Stayed.

“At Tideline, our mission is to tell relevant and impactful stories from differentiated voices and perspectives globally,” said Hannah Pillemer, Executive Vice President and Head of Scripted at Fox Entertainment Studios. “One Day in October is seminal, poignant and beautifully told, making it a fitting and essential addition to Tideline’s growing footprint.”

One Day in October features four hour-long episodes written by Liron Ben-Shlush (Next to Her, Working Woman), Davidoff (The Beauty Queen of Jerusalem, The Malevolent Bride), Adam G. Simon, and Amir Hasfari and Keren Weissman (Mama’s Angel). It is directed by Davidoff and produced by Finkelman (Menasche, The Performance), Chaya Amor (The Performance), Aviv Ben-Shlush, Lee Ben-Shlush Kuperman and Szew.

Fauda is a series created by Lior Raz and Avi Issacharoff. With Lior Raz, Hisham Suliman and Shadi Mar’i. You can watch the fourth season starting January 20 on Netflix.

Fauda in its fourth season in a mix of action, political thriller and the (evident) touch of social conflict. Beyond the evident confrontation (this is not a product about politics), this is a very entertaining series that has rhythm and intelligence and has known how to captivate the viewer with its complex plot, it elaborate characters and above all, its frenetic rhythm and elaborate construction in the parallel stories that have known how to reach an audience seeking big thrills.

This is a great success and excellent entertainment. The action scenes are very elaborate.

This season is just as good as the past ones: more of the same, more than one expects have made Fauda a phenomenon worth watching.

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Exclusive: A+E Studios/Ananey Studios’ supernatural thriller series The Malevolent Bride has set cast and commenced production in Israel, with Valley of Tears’ Tom Avni and Her Dance’s Lioz Levy playing the leads.

The show from Our Boys creator and Fauda writer Noah Stollman will air on Israel’s Kan 11 later this year, with A+E taking distribution rights in the rest of the world. The Malevolent Bride is the first co-production between A+E and Israeli studio Ananey.

Joining Avni and Levy are Maya Wertheimer (Shababnikim), Hisham Suliman (Fauda), Dar Zuzovsky (The Greenhouse), Esti Zakheim (The Commune), Shai Avivi (Pillars of Smoke), Lir Katz (Shababnikim), Adi Gilat (The Arbitrator) and Elisha Banai (Fullmoon).

The eight-part modern supernatural thriller, which commences production this week, follows the hunt for a vengeful spirit terrorizing an unsuspecting Hasidic community in present-day Jerusalem. A pair of unlikely demon-hunters – Hasidic psychologist Malki Price...

Club Fattoush is a real-life bar and arts space in the Israeli port city of Haifa: a kind of bohemian, liberal-minded gathering point for a broad array of residents, be they Israeli or Palestinian, Jewish or Arabic, gay or straight, and so on. Veteran Haifa-born filmmaker Amos Gitai is sufficiently enamored of the venue to have made a feature-length fictional celebration of its diversity and cultural import. Enter “Laila in Haifa,” a spaghetti pile of connected and disconnected narrative strands, revolving around a series of Fattoush employees and patrons over a single evening of business. It’s enough to convince you to drop into the place should you ever find yourself in town: It’d almost certainly offer a better time than “Laila in Haifa,” which, for all its good intentions and social interests, is among Gitai’s most listless films, not even propped up by his usual formal rigor.