Gay Israeli filmmaker Tomer Heymann’s remarkable documentary “Paper Dolls,” now out on DVD, examines the fascinating subculture of Filipino transsexuals working as caretakers for elderly Orthodox Jews in Israel.

While it seems an unusual and even unlikely arrangement, the relationships can be incredibly open and poignant — witness the father/daughter bond forged between Sally and her charge, Haim. However, this is not always the case. Another “Doll,” Jan, keeps her identity a secret from her employer, even having to get dressed in the apartment hallway.

Heymann’s affection and empathy for the Paper Dolls — named so because they are “not real” men or women — is evident in every frame, and he understands the shame felt by these immigrants who form a “family” in another country. The freedom the Dolls feel — in that they are able to be openly gay and attend Pride parades — is liberating, but their lives are not necessarily easier.

Heymann addresses issues of machismo, citing his “embarrassment” at never having cross-dressed before getting a makeover by the Dolls. The shot of the half-man/half-woman Heymann is one of the more striking images in this beautiful film.

As “Paper Dolls” chronicles these trials and tribulations, what emerges is a sensitive portrait of individuals trying to create and maintain their identity, independence and happiness. Perhaps this is best seen in a sequence of the Dolls pursuing their dream of performing at TLV, the premiere gay club in Tel Aviv. After a fabulous audition performing “Hava Nagila,” their club appearance consists of something a bit different than what they are expecting. It is the perfect metaphor for these Dolls, who, as this extraordinary film shows, are constantly falling between dreams and reality.

Heymann spoke to PGN about queer life in Israel, dressing up in drag himself and, of course, the Dolls.

PGN: How did you meet the Dolls and decide to do a documentary about them?
TH: I was invited to shoot a queer party, to make a documentary about gay life in Israel. I saw the Paper Dolls outside, and I heard about them, and wanted to understand what’s going on with Filipino crossdressers in Israel. I met Chiqui and he told me about his life as [a caregiver to Orthodox Jews]. I was shocked. He told me to join them tomorrow. I thought no one would give me the permission to shoot — especially in the ultra-Orthodox community of B’nai Brak.

PGN: Were there any concerns about you filming in the ultra-Orthodox community?
TH: I was asked not to shoot women and kids. I said, OK, fine. I said that I would shoot only Paper Dolls and the old men.

PGN: How did you gain the trust of the Dolls?
TH: I was told I was crazy to make this film — who cares about them? I had to convince the Dolls that it was worth their time — they felt there was nothing special about them.

PGN: Did you have any idea when you started the project that it would provide you with such a range of topics — from masculinity/femininity, deportation, bombing, performance/dreams and care for the elderly?
TH: I realized that this film had to show a different point of view about the Israeli mentality — not from an Israeli’s eyes or a Jewish-Israeli perspective. It was an outsider perspective — people born in Manila, who were outsiders in the gay community because they are transgender; outsiders in Israel, because they are illegal; and yet they have a very important place in Israeli society. I tried not to make a sentimental film. I did not want to show them as victims. For me, Paper Dolls are about surviving. Even in your worst moment, you find happiness and make jokes.

PGN: Whose story surprised you most?
TH: For me, it was the scene of Jan dressing outside of [his client’s] door. He can’t do it inside, and he can’t wait to dress at Chiqui’s.

PGN: Who do you think was the best performer in the group?
TH: Giorgio is amazing. He knows how to catch the moment and play his character. He’s great on stage.

PGN: Did you have an interest in drag queens before?
TH: It was all new to me. They bring something new to the culture of Israel. They were invited to have shows at their weddings. You can’t find it 10 years ago. Foreign people have influence in Israeli culture.

PGN: I thought it was great that the Dolls transformed you into a half-man/half-woman — to show you what their lives are like. What did you learn about this process?
TH: I didn’t understand what was going on. I turned my head and discovered [my look] myself, at the same time the audience does. I saw it for the first time in the editing room. The audience and I have the same feeling at the same time in this moment. I understood only later that it was Chiqui’s idea to make me half-man, half-woman. He directed the scene. They played with me.

PGN: Why did you not show the Dolls “hiding their candy?”
TH: I filmed it, but I felt I had to protect the Paper Dolls. I didn’t want to make it a “yellow movie.” They gave me their trust, and I could do what I wanted with the footage, but as a director, I had to control myself. It’s much stronger to have them describe it than show it.