Yaron, an elite special operations squad leader, is the spiritual leader and alpha male
among his peers, a small, highly trained team that is part of the Israeli Defense Ministry’s
Anti-Terrorism unit. Like a band of brothers, these men work, play, laugh, and cry together.
They are true patriots; they love their country, their families, and each other. Yaron is
ambitious and energetic, but a cyclone of emotions consumes him. His wife is expecting
their first child, and the failing health of a team member weighs on his soul as the men
contend with an unforgivable accident resulting from a miscalculation during a recent
rescue mission, and the price that must be paid as a result of this.
As the story shifts, the antagonists are introduced: a small group of young, passionate,
idealist, and politically extreme individuals with their own vision of how Israeli society
should be. They see themselves as a Robin Hood of sorts, and although their means
involve methods of terrorism, set forth to make their misguided vision a reality.
Circumstances swell, and Yaron faces something he never imagined; the prospect of
the very sort of evil he works to eliminate taking on the form of his beloved Israeli
countrymen. For the sake of his team, his expectant wife, and himself, he must hold
himself together and perform his duties.
Director Nadav Lapid made several short films during his studies in the Sam Spiegel Film
School, which were screened in Cannes, Berlin and Locarno. His graduate film, Emile’s
Girlfriend (50 min) was distributed in France. He participated in the Festival de Cannes
Residence, where he wrote the script for Policeman. The project won the pitching price
of the Jerusalem Film Festival and of the Thessaloniki Film Festival in 2008. Keep On
Dancing, a collection of novels he wrote, was published in Israel and France. Lapid studied
philosophy and history and worked as a sports and culture journalist, a television critic and
“A boldly conceived and bracingly told political drama, Policeman (Hashoter) possesses a
special contemporary pertinence in the wake of the recent massive protests relating to the
vast class and economic disparities in Israel.”
— Todd McCarthy, THE HOLLYWOOD REPORTER
“It’s been a long time since a first feature has displayed such masterly direction as Nadav
Lapid’s Policeman (Hashoter), such a sense of connection to the films of Godard, Bresson,
Fassbinder, Kubrick, and Haneke, and giving those more perceptive viewers such a
conviction of witnessing the arrival of an outstanding filmmaker while also discovering a
major film as brilliant in formal terms as in its ideas.”
— Olivier Père, CINEMA SCOPE