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Paper Dolls (Bubot Niyar) Israel closed its borders to Palestinian workers after the rise of the second intifada in 2000, and immediately sought itinerant workers from other countries. Paper Dolls documents a group of pre-op Filipino transexuals who moved to Israel to work as carers for elderly and infirm othodox Jews. During the day, the girls spoon-feed their vegetative charges, take them to the toilet, to the hospital when necessary and out for wheelchair-bound walks. They provide sincere company too, chatting amiably during dinner and taking lengthy phone calls from their employers' relatives with whom they seem to be on extremely familiar first-name terms. Of an evening, they gather and dress in pretty bad drag and perform as a troupe called the Paper Dolls. It seems that few of the group have any kind of professional experience as performers or drag queens, but they seem to have a good tme doing it for themselves. Heymann seems to be a big-hearted guy who, despite his own admission that he's happy to be alone, wants to push his Paper Dolls into as much happiness as they can find. An ill-fated show at one of Tel Aviv's hottest gay clubs only sees the Paper Dolls leaving the venue with their tails between their legs, but Heymann champions them to the reluctant club owner until they get a headline spot. When one of the Dolls gets deported, Heymann is the sole person to drive to the holding center to offer support and (vain) assistance.
Paper Dolls takes us to places in Israel that a lot of us may not have seen before. Trawling packs of illegal immigrants stringing together existences around the central bus terminals and tenement blocks where the only space big enough to change clothes is the fire escape. Foreigners from poor countries flocking to an apparently wealthy semi-western country who find little more than transposed versions of their squalid lives at home. Paper Doll's greatest asset are the women of its title, courageous and resourceful souls who take every crippling setback in their stride.
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