ByHANNAH BROWN

JULY 25, 2026 04:48

Sharon Angelhart recalled that films about teenagers during her youth never captured her own experiences. Her debut feature, Cuz You're Ugly, opened in theaters across Israel on Thursday.

The director and screenwriter noted that she set out to craft a story that matched what she wished to watch while growing up in Jerusalem and figuring out her identity.

The film blends darkness with sharp humor as it follows Avigail (Riki Reif Sinai), a young soldier thrilled by her commander's suggestion for officer training yet burdened by personal challenges. She struggles with her weight and lack of a partner, while her attractive younger sister Naomi (Or Avinoam) draws constant notice and struggles to manage it.

No adult offers guidance to either young woman. Their mother (Yael Abecassis) battles depression and stays mostly in bed, while their father (Yossi Marshek) focuses on his new family. When Naomi becomes pregnant, only Avigail steps in, yet the effort risks her own prospects.

The tale of the sisters' intense bond and Avigail's quest for improvement evokes the idea of slipping through the cracks. The pair matured largely alone, advanced in some respects yet still childlike in others.

Movie earns acting honors

Although Israeli cinema has produced several films on vulnerable youth lately, Cuz You're Ugly stands out for its emotional depth and lasting impact. The characters and key moments stayed clear in my memory long after viewing it at the Jerusalem Film Festival in 2025.

Strong performances by the leads drive much of the film's success. Sinai received the Best Actress prize at the Jerusalem Film Festival, while Avinoam, previously seen in Dani Rosenberg's Of Dogs and Men, earned the Ophir Award for Best Supporting Actress. The production also claimed the Ophir for Best Casting.

Most directors draw from personal experience in their first work, and Angelhart confirmed that while the plot does not mirror her life exactly, it explores themes she holds dear.

She described inner conflict and discomfort with her body, along with ongoing efforts to make sense of the world. Fitting into structures like high school proved difficult, and those experiences shaped Avigail.

Avigail strives to succeed and seeks recognition, yet her interactions with authority, rules, and social ranks remain uneasy, often leading to complications.

Military service offers Avigail a sense of freedom. For the first time others view her as equal, unaware of her background, allowing reinvention. Her commander spots potential she had overlooked.

Family issues intrude, however, and the sisters' tangled connection takes center stage. They feel love, resentment, disgust, and protectiveness all at once.

Laughter mixes with hurt. The balance of support and dependence shifts, and Angelhart observed that many families experience this mix of joy and sudden pain.

She praised her talented cast for capturing the dynamic. Sinai was 22 and Avinoam 18 during filming. Their maturity exceeded their years and enriched the roles.

As director she encouraged real closeness through open talks about family, romance, and daily life, sharing anecdotes that revealed shared experiences.

The aim is body neutrality

Angelhart discussed her own body-image struggles and frequent questions about casting plus-size Sinai as the lead. She noted that a larger heroine requires justification, unlike one of average size, and Sinai allowed the term fat.

She compared the body to family, something unchosen yet familiar. Angelhart chose a full-figured lead because the form lends itself to cinema, and she enjoyed shooting it.

The character faces extra hurdles because of her size, yet she embodies many traits and avoids victim status. Heavier actresses often play side roles or outsiders unable to express desire or flirt, but here the actress owns her body and identity.

Angelhart stated that the objective is not body positivity but neutrality.

Much of the shoot took place in Jerusalem's Gilo neighborhood, the director's childhood home, revealing an everyday side of the city free of tourist landmarks or ultra-Orthodox scenes, where wealth and poverty coexist.

She always planned to set her first film in Jerusalem, returning to familiar spots such as the local mall.

Gilo offers strong visual appeal, positioned between Beit Jala and Beit Tzafafa yet close to the center. Angelhart admired the Brutalist architecture by figures like Arieh Sharon and featured it prominently.

Angelhart entered directing by chance. She first pursued acting at Charles Smith Arts High School in Jerusalem but was removed from the acting track due to her high energy and outspoken nature. Staff placed her in film instead, where she discovered her path.

She had long enjoyed writing and began slice-of-life tales at age 12, similar to this project, before attending Sam Spiegel Film School.

Cinema comes naturally to her, and she expressed gratitude for the switch from acting.