Experiencing Interruptions?

Why Aren't You Crying

A young woman avoids her grief, until a frozen meal left by her late grandmother forces her to face the storm.

  • Gal Rosenbluth
    Director
  • Gal Rosenbluth
    Writer
  • Sharon Strimban
    Key Cast
    "Tamar"
  • Shai Avivi
    Key Cast
    "Yaki"
  • Project Title (Original Language):
    Lama At Lo Bocha
  • Project Type:
    Short
  • Runtime:
    16 minutes 2 seconds
  • Completion Date:
    October 8, 2025
  • Country of Origin:
    Israel
  • Language:
    Hebrew
  • Film Color:
    Color
  • First-time Filmmaker:
    No
  • Student Project:
    No
  • Digital Cinema Package:
    Unavailable
  • Haifa International Film Festival
    Official Selection
Director Biography - Gal Rosenbluth

Gal is an award-winning Israeli filmmaker whose work moves between fiction and documentary, exploring complex political realities with warmth, humor, and a deep need to make life more colorful.

Winner of the PARAMOUNT+ award, MIA Roma (2023) for NON-ISSUE, co-created with her life partner Nayef Hammoud. The project also participated in the Sam Spiegel Series Lab, supported by Netflix (2022).

Currently editing her debut doc, IT IS WHAT IT IS, winner of the CoPro Doc market and and selected for several work-in-progress forums, including EBU Pitching (IDFA), DOK Leipzig Co-Pro Market, MEDIMED, and CEDOC (Krakow FF).

Gal wrote and directed four short films – SHMITA (2016), VIVID RUTHIE (2017), ARABIC FRIDAY (2019) last two also screened commercially. Last October finished her new short - WHY AREN'T YOU CRYING which now begins its journey in the world.

A graduate with honors from the Sam Spiegel Film School (Jerusalem), Gal began her career as a film editor. Her editing credits include Tiberias (Winner: Best Series, Israeli Documentary Awards; Nominee: Best Editing, Israeli Television Awards), Nafas (Sundance TV), and others.

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Director Statement

My grandmother, Keti, passed away at 94. She lived so long I had grown used to the idea that she wouldn’t die—until she did.
She was a Polish villager at heart, funny, with strict house rules. Our bond wasn’t built on words but something deeper. I don’t believe in magic, but between us, there was something enchanted, embedded in her house—the only true root I have in this world.
When we packed up her home, I held myself together—until I found a container of her food in the freezer. The last meal she ever made. A frozen, sacred memory. I took it, heated it—and burned it all. I cried so hard I fell asleep on the floor. That was the moment I fully grasped she was gone.
This film is my farewell to her and her home. Shot in my grandmother’s real house, it explores the fear of losing the last tangible memory of a loved one. The house itself becomes a character, mourning with the protagonist as she realizes this goodbye is happening now.
This film was shot before the war we now live in. Finishing it took time as we faced deep personal and collective hardships.