EXCLUSIVE: Israeli director Ruthy Pribar returns to the Tribeca Film Festival with second film What is to Come next week and Deadline can reveal a first clip.

Ronit Yudkevitch stars as Yehudit, a sheltered farmer’s wife who backs out of a suicide pact that leaves her husband dead. She flees the shame and hidden debts that destroyed their life together for the resort city of Eilat.

An unexpected bond with migrants, refugees, and a compassionate hotel manager helps her rebuild herself from nothing and discover a life beyond the one she was told to live.

Pribar enjoyed a buzzy Tribeca debut in 2020 with first film Asia albeit vicariously with that edition pivoting online due to the Covid-19 pandemic.

She won the festival’s Nora Ephron Prize, celebrating a female director or writer whose work in the festival shares the same spirit as its late namesake filmmaker, while its star Shira Haas won best actress and Daniella Nowitz, best cinematography. The film went on to represent Israel in the Oscars.

“Returning with my second feature carries enormous meaning for me. In 2020, the film’s journey went far beyond anything I could have imagined; I experienced it entirely from afar. To finally share a film with audiences in person at Tribeca feels incredibly emotional and deeply full circle,” said Pribar.

The director reveals that inspiration for the film came from a real-life encounter.

“A few years ago, I met a woman who changed me. We had only just met when she asked if I could drive her to her husband’s grave. She had no car, the cemetery was far from any bus line, and there was something about the trust behind the request that stayed with me. Standing beside his headstone in the brutal August heat, she told me her story,” she explained.

“Buried beneath crushing debt and despair, she and her husband had made a plan to end their lives together. At the last moment, she chose to live. What moved me most was not only what she had survived, but the way she spoke about it. Alongside the grief and shame was an unexpected sense of gratitude, even wonder, at the possibility of beginning again. That encounter became the emotional foundation of What is to Come.”

The feature reunites Pribar with Asia cinematographer Nowitz as well as producers Yoav Roeh and Aurit Zamir and Dana Høegh under the banner of Gum Films.

Downton Abbey and Paddington star Hugh Bonneville shot down rumors that he is in the frame to appear in The Celebrity Traitors as he opened SXSW London with an onstage conversation on Monday.

“I keep being told I’m on Traitors, but no. I know Richard E. Grant is, because I tried to call him the other day… and his phone has been removed from him,” Bonneville replied to a question on whether he is set to appear in the show.

The UK star was in conversation with UK Minister for Trade Chris Bryant, who also has strong connections to the UK’s creative industries through his previous post as Minister of State for the Department for Culture, Media and Sport.

The talk kicked off the second edition of SXSW London, running from June 1 to 6 in some 20 venues in the UK capital’s Shoreditch neighborhood.

In keeping with the Austin SXSW original, the festival will bring together professionals from the creative, tech and business worlds with a lineup encompassing a conference program with some 800 speakers, 40 film screenings and an extensive live music lineup.

Bryant announced Bonneville as one of UK’s biggest exports thanks to his roles as the Earl of Grantham in Downton Abbey and Henry Brown in Paddington, and revealed that they shared a tie through the fact they are both alumni of  the UK’s National Youth Theatre.

Bonneville addressed the UK’s position as a major international filming hubs, noting he felt the mood in the industry was more positive in recent months after a lull in production but acknowledged fears over AI.

“Unlike the ministers, I have no statistics at my fingertips. I only have anecdotal evidence and feelings about where we are at… I was talking to a barista from the film world who said that since Downton Abbey, his work had grown and grown and then subsided last year, but he says there’s good prospects on the horizon. So that’s coming from the catering side of things, it’s a good barometer of where things are at,” said the actor.

Bonneville revealed he had felt nervous a year ago about the amount of studio capacity that was coming online in the UK, even if he acknowledged it was needed, pointing to the tricky logistics of shooting Paddington in Peru.

On the latter point, he suggested that only reason the shoot at the Sky Studios Elstree in late 2023 had been feasible was because the Wicked shoot was forced to shut down due to the writers and actors’ strikes.

“[It] is designed as a TV studio, so it was completely hopeless for a film unit which goes out on location every so often to do exterior shots. Luckily, the strikes came along. Wicked had to move out of the studio so we could park all our trucks in the Wicked studio, and were able to make it work. So, there was a weird uplift, in a sense, for our side of filming,” he said.

He noted Paddingon in Peru had been able to continue shooting while Wicked went offline because it was a French production produced by Studiocanal.

“We were able to work under our European contracts. It obviously decimated a huge number of jobs, not only in the U.S., but also here… it was a very delicate time,” he added.

“And yet, there was this building and building of new studios and contraction of stuff being made… I think we’re at a sort of crossroads where hopefully the pendulum that’s been swinging around in quite extreme directions will find a centre and obviously the big elephant in the room is AI.”

He noted how digital technology had been impacting the sector long before the rise of AI,  revealing that for Paddington in Peru none of the cast had set foot in Latin America.

“Because of this wonderful new digital age we live in, we never left the M25,” he said, referring to the orbital highway that encircles London.

“We didn’t have a lot of crossing of ravines and so on… it involved a platform and a couple of boxes. When Sony bought the American rights, they said you need to cut the budget by 70 million. The first thing to go was 200 people flying to South America,” he said.

“The crew did, I hasten to add. The second unit spent six weeks in the jungle, so every shot you see is genuine. It’s just that the actors were put on top afterwards.”

Tackling the current production malaise in L.A., Bonneville suggested Hollywood had priced itself out of the market.

“I love my colleagues in Hollywood… every producer there or location manager will tell you that Hollywood itself has traditionally priced itself almost out of the market. Runaway production has runaway for a reason. It goes to Canada, it goes to other parts of the States because of tax incentives and breaks,” he said.

“Hollywood has turned into very expensive place to film… it’s not imploding, but it’s certainly contracting at a massive rate. And it’s a worrying time for my colleagues there, and I’m talking about everyone from the teamsters to the baristas.”

Questioned on his personal thoughts on AI and what he felt about his likeness being used in future AI productions, Bonneville said he was “nervous” about current developments but praised Micheal Caine, who recently licensed his voice to audio-focused generative AI company  ElevenLabs.

“We’re in very foothills of this which will become a bigger experience for all. I’m nervous… Michael Caine has been very savvy in his twilight years. I believe he has licensed his voice, his iconic voice,” he said.

“Let’s face it, you can scrape anyone’s voice and use it with impunity and that’s the risk. I keeping being told, They’re using your voice’… and then I listen to it and I can tell it’s not me, but it won’t be long before it will be me,” he said.

The key issue, he said, was ensuring that the people in the creative industries who make the original content get their share of the profits in the AI chain.

“I am nervous but obviously, I’m excited. We’ve already seen people like Paul Newman in adverts…. How do you copyright that and protect IP. The world of IP is the Wild West. Are you big enough to protect it, our we big enough to protect it? How much are the online platforms responsible… again these are bigger questions than me?,” he concluded.