Israeli film ‘Lebanon’ takes top prize in Venice

September 13, 2009 - 2:19 PM by David · 5 Comments
Filed under: A New Reality, General, Movies, Pop Culture, War 

A scene from 'Lebanon'It’s ironic that just as a group of well-known actors and filmmakers, among them Jane Fonda and Danny Glover, are calling to boycott this year’s Toronto International Film Festival because one program there will be devoted to films set in Tel Aviv to mark that city’s centennial, an Israeli film walked off with top honors at the 66th Venice Film Festival.

Israeli director Samuel Maoz’s Lebanon won the Golden Lion, the top prize, at the closing ceremony on Saturday night, the third Israeli film based on soldiers in Lebanon besides Joseph Cedar’s Beaufort in 2008 and Ari Folman’s Waltz with Bashir in 2009 to win major awards. None of those films could come close to being described as Israeli propoganda, as the pro-boycotters claim all Israeli film is, and in fact, they provide a critical look at Israeli society and the wars we’ve fought.

Lebanon, Maoz’ first feature film, received glowing reviews from critics, with The International Herald Tribune calling it “a powerful and original film.” Based on Maoz’s battle memories, Lebanon depicts the fate of an IDF tank and its crew behind enemy lines at the beginning of the first Lebanon War in 1982.

According to The Jerusalem Post, the hard-hitting film is shot almost entirely from the point of view of the soldiers inside the tank, and is uncompromising in its depiction of the confusion of war, the inevitability of casualties (both civilian and military), and the claustrophobia of being stuck inside a machine that protects soldiers but can also become a death trap at any moment. It is highly critical of the leadership that brought these soldiers into such a deadly situation and left them there with so little guidance.

Lebanon is nominated for several Ophir Awards, the prizes of the Israel Academy for Film, including Best Picture. The Ophir winners will be announced in a ceremony on September 26.
The winner of the Ophir Award becomes Israel’s official entry to be considered for a nomination for the Best Foreign Language Film Oscar.

It’s also ironic, that as more and more quality Israeli films are being made that have nothing to do with war and conflict, it is precisely those war-based movies that are touching an international audience. If the naysayers who would deny audiences in Toronto from viewing the spectrum of film which reflect the diversity of Israeli culture – that don’t attempt to whitewash any blemishes or skirt over the pall of the Israeli-Palestinian conflict – would only view some of the films themselves, they may reconsider their decision to boycott.

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Tel Aviv unwanted in Toronto?

September 6, 2009 - 11:22 AM by David · 8 Comments
Filed under: A New Reality, General, Movies, Politics 

Jane Fonda's Barbarella stands up against Palestinian oppression.

Jane Fonda's Barbarella stands up against Palestinian oppression.

Misguided protests from loopy bastions of the artistic Left over Israel’s policies regarding the conflict with the Palestinians have resulted in a new height of absurdity.

Some 50 artists, actors and filmmakers, including Jane Fonda, Wallace Shawn, David Byrne and filmmaker Ken Loach, have accused the Toronto Film Festival in an open letter of protest of “complicity with the Israeli propaganda machine” over its spotlight this year of Tel Aviv.

The City-to-City program at the festival, which runs from September 10-19, is highlighting Israeli films like Kirot, Jaffa by Keren Yedaya, The Bubble by Eytan Fox, and Phobodilia by Yoav and Doron Paz, films with festival co-director Cameron Bailey “explore and critique the city from many different perspectives.”

However the open letter by the artists, prompted by Canadian filmmaker John Greyson pulling his short film “Covered” from the festival, claims that the program “ignores the suffering of thousands of former residents and descendants of the Tel Aviv/Jaffa area who currently live in refugee camps in the Occupied Territories.”

“Looking at modern, sophisticated Tel Aviv without also considering the city’s past and the realities of Israeli occupation of the West Bank and the Gaza strip, would be like rhapsodizing about the beauty and elegant lifestyles in white-only Cape Town or Johannesburg during apartheid without acknowledging the corresponding black townships of Khayelitsha and Soweto.”

Are these people serious? When did everything that happens in Tel Aviv, or any other part of Israel, suddenly get tied like a pretzel to the conditions of Palestinians? Even Bailey, in defending the decision to focus on Tel Aviv admitted that “Tel Aviv is not a simple choice and the city remains contested ground.”

Does that mean that Tel Aviv is occupied territory?

As the New York Times reported, “One thing is certain: What might have been one of the festival’s less noticed film series is going to get some attention when it opens on Sept. 11 with an 8:45 a.m. screening of “A History of Israeli Cinema, Part 1,” directed by Raphael Nadjari.”

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