Avir Mevorach

I composed "Avir Mevorach" to lyrics by Hagit Simcha Ben Tzvi, as part of "The Heart Project."

A few years later, once I started making films with AI, I was looking for a song that could become one.

I didn't want to illustrate the lyrics. I wanted to find a cinematic idea that could stand on its own.

"Avir Mevorach" was the natural choice.

The first question I asked myself was simple: how do you film air?

Of course, you can't.

That's when I realized I was asking the wrong question entirely.

Before there was a screenplay, I had one image in my head. A small boy in a diving helmet.

I didn't know yet what would happen in the film. But I knew that image was the starting point.

Everything else was built from there.

I chose a child because children still see the world differently — they ask questions, they imagine, they don't always take reality for granted.

I wanted the film to move through that point of view. One children could connect to naturally, but adults would find their own meaning in too.

The diving helmet became the center of the story, but it was never really the point.

The helmet didn't block the air. It made him believe there wasn't any.

It mattered to me that the film didn't end there.

The boy returns to the same gray city. The same streets. The same buildings.

But this time, something has already changed. Not the city. The boy.

And everywhere he walks, the city begins filling with flowers, color and life — not because he's creating a new world, but because the way he meets this one has changed.

I was looking for one idea strong enough to hold the entire film.

Once I found it, every creative decision became simpler. Every shot. Every color. Every movement. Built around that same idea.