Keren Cytter’s films focus on the creation of a fictional world for the purpose of entertainment, incorporating stories of love, sex, violence, betrayal, and murder. Suggestive of dreams or memories, her films are non-linear and often disorienting—time overlaps and actors repeat lines, switch roles, or deliver directions aloud. In Family (2002), for example, grown men are cast as a mother and her infant son, playing out a domestic Freudian drama. Cytter’s films are strewn with cultural and historical references, reflecting her desire to recombine the recognizable in disorienting, absurdist, and often-humorous arrangements. Israeli, b. 1977, Tel Aviv, Israel