Marcelle Tehila Bitton's exhibition presents several of the artist's latest works. She grew up in a Sephardic rabbinical family in the ultra-Orthodox world and was part of the wave of ultra-Orthodox women filmmakers. The exhibition appeals to all the senses and presents different possibilities of identity, disguise, flexibility of thought, and movement between worlds. 

The word for Arak in Moroccan is "Mahia" – living, holy water. The bottle of Arak was an integral part of Rabbi Yitzhak Abuhatsera's ceremonies. He is the author of eight of the most important books in the Kabbalistic canon. Arak, a drink of unique qualities, is still perceived in the tradition of the Abuhatzera family as a miracle worker. The Baba Sali, Rabbi Yitzhak's son, gave Arak to the sick as a charm to get well. According to a famous story, the Baba Sali kept a bottle of Arak in his lap and poured from it for the dozens of people who came to ask for a blessing, and the Arak never stopped flowing from the bottle for hours*. 

The smells of Arak mingle with the scent of rosemary in another work. The smell plays a vital role here in animation and restoration: 

In the Havdalah ceremony held at the end of Shabbat, people take spices or fragrant herbs ("perfumes"), bless "Him who has created various spices," and smell them. According to the Zohar, every Shabbat, an "additional soul" enters a person with extra spiritual vitality that fills him up. At the end of Shabbat, it departs from the person, leaving him in despair and sadness. Smelling spices can restore one's spirit because it is a relief from the sorrowfulness of the soul. 

Another work presented here, which has become highly identified with the artist, is "Edri at Me’ah She'arim" (2019-2021). Here, two fields merge in a way that leaves both present: the first is the genre of ultra-Orthodox women’s cinema, wherein her roots as an artist lie and which has been developing and becoming more professional over the years. In this genre, women play all the roles, even the male ones, and women are the only creators and viewers: 

Orthodox women’s cinema started two decades ago with self-funding, without the support of external bodies. It is a rapidly growing movement that is bringing about great social changes. More than 300 films have already been made. The filmmakers take great risks of financial losses if the film does not suit the target audience, boycotts from the audience, or various supervisory mechanisms. However, these challenges do not prevent them from continuing their work or touching on sensitive issues. In their way, they try to create new realms beneath the surface, which stretch the accepted boundaries. 

The films star women only—secular actresses alongside ultra-Orthodox women or actresses who have recently become religious. Without romantic stories, ultra-Orthodox women’s cinema is characterized by heroic stories, period dramas, extreme conflicts, and melodramas. The set and costume design are central parts of the production, characterized by well-made classic haute couture, meticulous photography, and sound. 

The second area is the inspiration for the various scenes, which comes from the 1961 Hollywood film "Breakfast at Tiffany's" ( starring Audrey Hepburn): the artist accurately recreates scenes from the movie and reconnects them. Audrey becomes Edri, a croissant becomes a SfinJe , and Tiffany's gems turn into the Jerusalem stones of Me’ah Shearim's walls.