Alma Har'el

Alma Har'el is an Israeli‑American director whose career blends documentary sensibility with lyrical fiction, earning her a reputation as one of the most inventive visual storytellers of her generation. Born on July 2, 1975 in Tel Aviv, Israel, she began as a photographer and VJ, describing those live‑editing performances as her informal film school and a foundation for her later cinematic style. Her early collaborations with the Israeli group Balkan Beat Box and with musicians such as Beirut and Sigur Rós translated into award‑winning music videos, most notably the 2009 Elephant Gun clip that garnered MTV Video Music Award nominations and landed on Paste Magazine’s Top 50 Videos of the Decade. In 2011 she released Bombay Beach, a documentary‑fiction hybrid set against the decaying Salton Sea; the film won the Tribeca Film Festival’s top prize, was nominated for an Independent Spirit Award, and cemented her ability to turn marginal landscapes into mythic arenas. Har’el continued to push genre boundaries with the 2016 documentary LoveTrue, which earned the Grand Prix Best Documentary Award at the Karlovy Vary International Film Festival and highlighted her fascination with performance within nonfiction narratives. Her narrative feature debut, Honey Boy (2019), starring Shia LaBeouf, brought her a Directors Guild of America Award for Outstanding Directing – First‑Time Feature Film and demonstrated her skill in translating deeply personal, trauma‑laden scripts into emotionally resonant cinema. Beyond film, Har’el has directed high‑profile commercials for brands like Airbnb, Internet.org, and Stella Artois, winning Clio and Wood Pencil awards for cinematography, and founded the gender‑equity initiative Free the Bid in 2016. Most recently she directed the concert film Shadow Kingdom: The Early Songs of Bob Dylan (2021) and created the miniseries Lady in the Lake (2024) for Apple TV+, proving her versatility across documentary, narrative, music, and branded content. Her work is consistently praised for its dream‑like visual language, its willingness to blur fact and fiction, and its commitment to elevating under‑represented voices in both the film and advertising worlds.