Climbing the gangplank to their cruise liner, they make a charming sight - the bubbly middle-aged woman laughing with the mother she's taking on holiday, still sprightly and beautiful at 93. But behind this pretty picture lies an ugly shadow, one ruined childhood perpetuated by another, a relationship which has left lasting scars and taken a lifetime to resolve.
How did Sylvia Rafael, a beautiful middle-class South African with a Jewish father and Christian mother, become one of Mossad's most successful spies?
What motivated her to put her life on the line for Israel, and how did she earn the trust of some of the most dangerous people in the Arab world at a time when Palestinian terrorism was expanding across the Middle East and into Europe?
"What makes a film Jewish? There are no easy answers. It's obviously not just Jewish ritual and life, but some sort of Jewish sensibility and state of mind. Not everyone will agree with our choices - but it's our job to open the question up to debate and discussion."
You know," says James Schamus, leaning in, "in Hollywood, there are a few of us Jews around!" He breaks into an infectious laugh. "You know, there are a couple! But Hollywood doesn't make Jewish movies! Think about it! It's bizarre!
If the Nazis had had their way, the Franco-Australian film-maker/painter Philippe Mora, like so many Jews, would never have been born. His mother, Mirka, her two siblings and his grandmother were arrested in Paris during the Roundup (Rafle du Vel' d'Hiv), in 1942, and sent to a transit camp in Pithiviers, from where they'd expected to be transported to Auschwitz.