Jerusalems, le syndrome Borderline

Can a filmmaker still make authentic images of Jerusalem? Eyal Sivan thinks not, because nobody can look at the city without prejudice anymore. Jerusalem is the symbol of the clash between the Islamic and Jewish?Christian cultures. Both parties establish their entitlement to Jerusalem with historical arguments, turning the city into 'the largest living museum of all times'. In this cultural and religious battle it is hard for the inhabitants of the city to preserve their human dignity. That is the reason why Eyal Sivan left the city in 1984. After his return ten years later, he made Jerusalems, le syndrome borderline. The living city with its everyday reality is the point of departure for this film, not the political, historical and religious imbroglio.