A wandering Jew
The just-over-a-minute trailer for “The Wanderer” is gripping in its scenes and silence. Just premiered at the Cannes Festival, this film by unknown Avishai Sivan tells the story of yeshiva student Isaac, a 19-year-old only child of ultra Orthodox parents (the father is played by an Israeli Arab) who is suddenly gripped by severe abdominal pains.
Variety reviewer Alissa Simon wrote that the film is “visually assured but narratively underdeveloped.”
“Independently made, tonally mixed drama, rigorously shot on 35mm with minimal means, reps a peculiar but memorable calling card destined to meander through the fest circuit, likely finding mixed reviews as well as some passionate supporters.”
How did Sivan get to Cannes? Ha’aretz reports that despite many previous rejections for his other films, Sivan was about to spend his life savings on “The Wanderer”, when the Israel Film Fund finally gave him the NIS 200,000 needed to put together a bare-bones production. He didn’t even have enough money to finish the editing process, and sent an unfinished version to Cannes. But they accepted it anyway, and he made it to the red carpet.
Waltz with Bashir gets Oscar nod and Beirut screening
Filed under: A New Reality, Art, coexistence, History and Culture, Movies, Pop Culture, War
In the same week that saw Waltz with Bashir finally secure a place on the short list of movies nominated for the Best Foreign Film Academy Award, the movie was finally shown to the public in Beirut, where much of it takes place. Waltz with Bashir is officially banned by Lebanon, but through a loophole, a Lebanese multimedia war archive organization called UNAM was able to show the movie to a modest crowd of 90 at a “private party,” a piece in Variety reports.
Already a bona fide marvel for the innovative manner in which it melds documentary footage with animated dreamscapes, Ari Folman’s tour de force garnered acclaim on the international festival circuit before winning a Golden Globe earlier this month.
As of late last week, Bashir is one of five finalists for that Oscar, nominated alongside offerings from Austria, Germany, France and Japan, with the winner to be announced at the award ceremony on February 22. Following Beaufort‘s nomination a year ago, Bashir making the short list of Foreign Language Oscar nominees means that two Israeli movies focusing on the IDF’s role in Lebanon have received Oscar nods in as many years.
Folman himself is generally skeptical that Bashir is in a position to make a difference in the world, telling the international press on numerous occasions that he sees war as an unfortunate fixture. On the other hand, now that his movie has screened in Beirut, he has modified his stance. “In principle I don’t believe movies can change the world, but I’m a great believer in their ability to form small bridges,” Folman told Haaretz in the context of that newspaper’s coverage of the Beirut screening.
Small bridges of coexistence and peace indeed. The movie has already been shown in Ramallah and may soon receive a modest theatrical release in the gulf states, according to the Haaretz article, and last Saturday’s screening in a Beirut suburb was not simple to arrange either. The UMAM organization’s leadership is proud to have accomplished what it has with the Israeli movie:
“The subject of this film is a crucial moment in the history of Lebanon, for the history of Israel, for the history of the Palestinians, and for the history of Palestinian life in Lebanon,” UMAM founder Monika Borgmann told Haaretz.
“At some point every state must deal with its violent past and the sooner it does so the better. That’s why I think this movie should be shown,” she said.
“Yesterday, my phone didn’t stop ringing…everyone wants a copy of the film,” she said. “I think it comes out on DVD in March. The next day, it’s going to be pirated all over Lebanon.”












