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{LIFE IMITATES ART FAR MORE THAN ART IMITATES LIFE. OSCAR WILDE}

Look where you got us.

No, it was you.

What a beauty.

It was kind of a dream for me to blow my brains out like that.

Periel Aschenbrand, New York Beat.

David, we have often seen male directors directing their wives,

Roman Polanski, Roger Vadim, Sam Mendes,

but we have rarely seen it the other way around.

What was it like to be directed by your wife?

Alice goes all the way with her vision.

And she doesn't stop till she gets what she wants.

No compromising.

I think in the end,

this is what an actor is looking for in a director, wife or not.

And so, would you do it again?

Probably.

Even though I understand that you and Alice have since separated?

The fact that we're not together

has nothing to do with the film

or with the fact that she was my director.

Let's talk about the film, please.

Next question, thank you.

Gregg Hoffman from the London Marks.

This is a question for you, Alice.

It's been a while since your last film.

What made you decide to direct Room 209?

I think the only reason to make a movie is if you can't help it.

And I read the script and I just didn't have a choice.

It was an act of survival for me.

You're a woman, a mother of three.

What do you believe it takes to direct a film nowadays?

I believe that in order to create, you need to be able to...

sacrifice...

different parts of yourself.

You need to be able to let go of everything you have.

And don't believe anyone who says you can have it all.

Because you can't.

And sometimes, people you love...

I'm sorry.

Sometimes the people you love get hurt on the way

and I guess it's all part of the ride.

And you just hold on tight and you pray to God that

it will be worth it at the end.

And with everything that happened during this production,

do you think it was worth it?

Make sense?

Once the gun goes into your mouth, it doesn't come out.

Once you've decided, there's no turning back.

There may be tears, breathing, but...

Okay?

The flickering is great. Great.

Okay, I think I got it.

About the blood coming out of my head.

Did you hear me?

Did you hear me?

Hagai is in charge of the blood.

Hagai, can you explain it to her? Sure.

Okay, let's...

Let's start from Dana over here on the bed making her decision.

And from there we'll do a transition to where Amir enters the room

and finds his daughter.

I have a question.

How come she doesn't save me? Eleanor?

It's just that she's there the whole time in the closet.

She knows I have a gun in my mouth.

We're still friends even though we hate each other

so it seems kinda harsh.

Because Eleanor hates her in that moment

and the thought of Dana not being in her life

means that she could stay with Amir and the baby forever.

And she doesn't think the consequences through.

Okay.

I see. It's just in that moment

she wants her dead.

A second later, when she realizes it, it's too late.

Okay.

I get it.

Alice, we good on blocking?

Yeah, we're done.

We're done blocking. Last looks, everyone. Quickly.

I need Dana wet for the scene.

All right, let's smoke up the room.

All right, get it ready, guys. Okay, let's do this.

Time to shoot. Here we go. Quiet on the set, please.

Three, two, one, action!

Cut!

You're the man, you hear me? The man.

Hey. Come over here, you genius.

This film is just going to be glorious. I don't know how you do it.

They showed me some raw takes

and every scene is perfect. Lifshitz.

How's it going? Are you coming to my birthday party at the bar downstairs?

I'll try, hon. Thank you.

Thanks.

Anyway, it looks amazing,

but we're in big trouble with the hotel because of that extra day of shooting.

It had to be done. We didn't get it. Yeah, yeah, I get it.

Anyway, with the complications

and the hotel's requirements, having everyone sleep here

so we could get the scene done,

there's no money.

I've got nothing left.

I need you to tell me if there are any scenes that we can cut out.

I still haven't booked the park for when Eleanor hallucinates.

We can cut that.

What do you mean?

We can cut the scene with Eleanor at the park.

I've gone over it. It's redundant, not the right tone.

I knew it all along.

Are you sure?

Absolutely. I only kept them for Sophie's sake.

Okay. So we'll cut out the park.

Yeah.

Those scenes have some powerful stuff, you know.

Not really.

That's the place to cut.

I want to hear you say it.

I'm okay with cutting the scene at the park.

Thank you.

Okay.

Great.

We're gonna be on the red carpet in Cannes next year.

You heard it here first.

"LOSING ALICE"

"CREATED BY SIGAL AVIN"

What's going on?

That's what I was gonna ask.

I don't know.

Well, they told me you cut all the scenes in the amusement park.

Scenes that you knew were important to me.

Scenes that put everything I do into context.

Yeah. I understand, Sophie. It's just...

It came from the top, not me.

We're having serious budget issues

and the only way we can finish this production.

It's gonna be just fine.

What are you doing?

Trying to make the best film I can make.

Ruining it. No, you're wrong.

So a thank you could be nice instead of... -Thank you?

I was the one.

I fought for you when no one believed you were right for this.

No one but me.

And that includes your husband, who did not think you could do it.

So you want to take this script,

that for years I have been bleeding over, it actually almost killed me,

and fuck it all up because you're jealous and frustrated

like some amateur.

You're something else.

Really.

I know you didn't write it.

What are you talking about? The script.

I saw her film. Naomi's.

What the hell are you talking about? Her graduate assignment.

The short with the scene from the movie that you wrote. Yeah.

That she actually wrote.

I'd ask her about that, but, you know,

that would be hard, hmm?

'Cause I killed her, right?

I killed Naomi.

I stole her script.

And I did it all just so I could fuck your husband, right?

So where is she?

Supposedly she disappeared, ran out, suicide.

Where is she, that friend of yours?

I cannot wait for this film to be done so you can be out of my life.

You have no idea, no idea how much I want this to end!

You're really fucked up in the head.

That's why David enjoyed coming inside of me.

I'm pregnant.

Fuck.

"SOPHIE MARCIANO"

You were there the whole time. You could've stopped her.

Why didn't you do anything?

Why didn't you try?

Why didn't you stop her?

Why?

Are you Sophie's parents? Yes.

So, she's gonna need surgery. She's lost a lot of blood.

Sophie's your daughter? Yes.

Yeah. Alice. I'm the director.

Nice to meet you.

I just wanted to let you know that I'm sorry about what's going on

and just... I mean, she's wonderful.

I hope she'll be okay.

But why would you let Pnina near her?

Come on. What?

The truth is that we suspected she was around,

so we had extra security on site as a precaution and...

I'm really... I'm so, so sorry.

I'm sorry.

Pnina, that lunatic.

I always said something like this would happen.

We practically adopted Naomi.

She was part of our family.

She was always trying to get away from her crazy mother.

And Pnina, that psycho,

would call us screaming saying we stole her daughter.

We stole her daughter? Please. She chased her away.

That's enough. Stop saying that!

Stop saying it's enough! Enough, enough!

How dare you try to shut me up? Sorry.

I need to let it out, so just let me!

I need to let it out! I'm sorry, I didn't mean it.

It's okay. Let it out.

It's okay. My mother was right, I swear.

I'm sure she'll be fine. It's okay.

You want anything? No.

That's okay, let's go sit down and try to breathe.

I'm pregnant.

Well, aren't you happy?

I'm not happy, I...

It's complicated. I can't just leave home with things the way they are.

Rita, with all her...

You cannot tell Dana.

You can't.

I'll break it off, okay?

I'll just go away. She won't see me again.

I'll keep the hotel room as long as we need.

We can meet there in the meantime.

I can't raise a kid in room 209.

We won't raise it there, okay? We'll... Hey.

I promise.

I'll take care of us.

Good evening.

It's our great pleasure to award the director's prize tonight.

And the award goes to...

Alice Ginor! Room 209.

Did you hear that, babe?

Sophie fucking Marciano!

Did you hear that, Sophie?

It's all because of you.

Because of the fucking amazing script you wrote.

You did it, babe.

You did it.

Un-fucking-believable. Thank you very much.

You did it, like you told me you would.

It's your victory. Your victory.

Don't ask.

I won't.

You want to come in?

You want a drink? Yes.

So, how's it feel?

The...

The award went for a swim.

We've been through a lot, haven't we?

Yeah.

David. David.

It's all my fault.

All of it.

The film.

Everything.

It's not always about you.

Things happen.

Some tough things, sure.

But it's over. The movie is done.

Can you please come back home now?

Excuse me?

Are you Alice Ginor?

Sorry to bother you.

No...

I'd heard rumors that you're...

abroad or something.

Yeah, I got home just a few weeks ago.

My mom's not doing so good.

She was never doing great,

but now it's really...

Yeah, I'm sure. I'm sorry to hear.

Mommy, I'm bored.

One sec, baby, just... Here, I'll turn on your game.

By the way, I saw your movie, yours and Sophie's.

I'm amazed she got it produced.

And with you guys.

She always admired you, you and David.

And the casting was shocking.

She kept the whole story, which is unbelievable.

Every little detail.

I have to ask you something.

I saw your student film from school,

and that scene appears...

in her script. Oh.

Yeah.

That was her idea.

I had nothing to submit so she wrote a scene for me.

It was her way of telling me she knew about us.

Come on, babe.

It's time.

Let's go.

Well, all the best to you.

Same, yeah.

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