• Home
• Archives
• About
• Videos
• Links
• Contact

Israeli film ‘Lebanon’ takes top prize in Venice

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.

An animated Israel

Everyone recognizes that Israel is an animated society – full of movement and action. But it’s less apparent that Israel is also becoming a stronghold of animation – you know, the computer-generated kind.

In the wake of the success of Oscar-nominated film Waltz With Bashir, the country’s bubbling animation industry is finally getting noticed internationally, and for the burgeoning animation studios producing top industry standard level material, it’s perfect timing.

Gwen Ackerman over at the Bloomberg new agency recently wrote an excellent overview of the Israeli animation industry – focusing on Tel Aviv’s Crew 972, which boasts Alex Orrelle who helped create The Incredibles, Finding Nemo and Monsters Inc. during the three years he worked in California at Walt Disney Co.’s Pixar Animation Studios, and on Jerusalem-based Animation Lab, founded in 2006, which is working on The Wild Bunch, a story of flowers defending their meadow from genetically modified corn stalks.

“[Waltz With Bashir] had a strong impact on the image of Israel as an animation-savvy country,” said Orrelle. “When I call up an animation studio outside Israel, they are no longer surprised. We are definitely seeing business opportunities expand.”

Proving the point that animation is no kid’s game, Ackerman talked to David Chissick, founder of Chissick & Co., a company based in Herzliya that invests in and advises media and technology companies. He estimates that as much as $100 million has been poured into the growing Israeli animation industry in the past five years.

“If you look at the number of people working at the moment and the number of courses there are, the industry has grown four times compared to what it was eight years ago,” Chissick said. Orrelle, the animation artist, agreed, saying an increasing number of Israelis were taking up animation as a profession, while others are returning from studies abroad.

And, as usual, even with something as unrelated as animation, it eventually all comes back to the ingenuity of Israelis and our innovation by neccessity quality derived from having our literal backs against the wall throughout our history.

The founder of the Animation Lab, successful venture wunderkind Erel Margalit, put it this way.

“It is as much about technology as it is about culture, a culture daring to start to do something from scratch.”

Even, a non-Israeli, David Simon, former head of DreamWorks Animation SKG Inc.’s television studio in Los Angeles, said he saw one of the first real-time three-dimensional cameras on a trip to Israel, adapted from technology originally used on the tip of a cruise missile.

Now, that’s something that Tweety Bird definitely could have made use of.

Lights, camera, Shalom

Israel’s film industry has grown in leaps and bounds, both in quality and quanitity in recent years. Two local films – 2007’s Beaufort and last year’s Waltz with Bashir – were both nominated for an Academy Award for Best Foreign Language Film.

But one area where the local film industry hasn’t done so well is in attracting foreign film producers to shoot their movies here. It’s a shame, because Israel has such cinematic locations – the beach, the desert, the Golan, the old cities of Jerusalem and Acre.

But until now, it’s been too expensive to bring a huge crew and equipment over, so foreign productions have been few and far between. I was an extra once in 1988 in Appointment with Death, an adaption of an Agatha Christie novel, starring Peter Ustinov, Sir John Gielgud and my personal favorite, David (Starsky) Soul that was filmed in Jerusalem. My portrayal of a British soldier in Palestine circa 1930s did irreparable damage to the reputation of Israeli actors, and since then, we’ve been suffering.

Even Adam Sandler’s Zohan filmed the scenes that are supposedly in Israel in some other location like Hawaii.

But now, things may change. The Industry, Trade and Labor Ministry has announced that Israel will offer foreign film producers tax breaks of 20 percent if they collaborate with Israeli production companies.

The announcement was made a day ahead of the opening of the Cannes Film Festival, and one of the sessions there featuring producers will focus on Israel as a location for making movies and TV shows. The ministry will also man a booth at the festival distributing pamphlets listing the advantages of filming here.

The Jerusalem Post reported that according to the pamphlet to be distributed at Cannes, Israel has several selling points: a vast pool of actors and extras of varying ethnicities representing more than 100 countries, many different types of locations within easy driving distance, and 120 production companies, 10 production studios and 30 post-production facilities.

Israeli producer Gal Uchovsky, the business partner of director Eytan Fox (Walk on Water, The Bubble) said that he was pleased with the move.

“Countries [that] have offered such incentives drew a lot of producers. Morocco and Ireland, for example, have made a lot of effort to draw in foreign filmmakers and it has paid off.
“This is a very good financial decision. It will provide an income for much of the local industry and will raise the local industry’s standards,” said Uchovsky.

We may not see Brad and Angie here tomorrow, but hopefully the government decision will help Israelwood get off the ground.

Waltz with Bashir snubbed in LA

Conventional wisdom unequivocally asserted that the only Best Foreign Language Film Oscar nominee to hold a candle to Waltz with Bashir was France’s The Class – but that even that movie was hardly as technically groundbreaking or thematically poignant as Israel’s nominee. Regardless, The Academy instead gave the award to Japan’s Departures (pictured in all of its smirking glory).

Bashir therefore joins a long list of Israel-made Oscar losers that includes Sallah Shabati and HaShoter Azoulay.

When Joseph Cedar’s Beaufort failed to take home a statuette a year ago, the director was gracious and stoic, putting the situation in the proper context. He even went so far as to give The Jerusalem Post the ultimate cliché Oscar loser soundbyte:

[Cedar] seemed to keep his hopes in check at a symposium prior to the ceremony, saying he was “happy just to have been nominated. I’m not even thinking about winning.”

….”We have shown that Israel can make very good movies,” Beaufort actor Eli Eltonyo told the cheering crowd [at a post-Oscars party], “and we will prove it again next time.”

Next time was earlier this week, but Eltonyo’s prediction didn’t come to fruition – at least not as fully as he might have hoped. But Bashir’s creative team was hardly as gracious as Beaufort’s was. The jPost caught up with director Ari Folman after the show:

“It’s a game,” Folman said, shrugging. “It’s 500 anonymous voters, and I don’t know a single one.”

He said he planned to drink the night away before getting on a plane home to Israel.

“I’ll be glad to be done with all of this traveling, though I am going to miss it in a few months – but right now I just want to go home and be with my kids,” Folman told the Post.

Back here in Israel, the rest of the Bashir team was even more disappointed, as Haaretz notes:

Nitzan Roiy, in charge of composing and special effects, stayed in his chair.

“It’s horrible,” he said. “When we came here we were sure we had it in our hand. It’s a shame.”

…. “We were very confident before the ceremony,” said Neta Holzer, one of the animators who joined the Israeli delegation to Los Angeles. “We didn’t talk about winning, but we had a very good gut feeling. Everyone is disappointed, but we’re getting used to it.”

With so many great movies continuing to come out of our local industry, we can all comfort ourselves by saying, “There’s always next year.” At least that;s what the good sports among us will say.

Nostalgia Sunday – Lebanon 1982

They’re not happy memories. However, it seems appropriate, on the eve of Waltz With Bashir’s possible Oscar win, to glean the National Photo Collection for photos of the 1982 Lebanon War that capture something of the movie’s essence.

Sidon – IDF soldier on patrol near Ferris wheel. Photo: Shmuel Rahmany

Zaharani area – burning fuel depot. Photo: Beni Tel-Or

Tyre – Ancient Roman ruins with modern buildings in background. Photo: Yaacov Saar

Sidon – Returning to the marketplace. Photo: Yaacov Saar

Central Lebanon – Two Israeli soldiers take a forbidden dip in a stream. Photo: Yossi Roth

Tel Aviv Fairgrounds – Israeli citizens visit a display of a captured PLO arsenal. Photo: Avraham Zaslavski

Tel Aviv – Minister of Defense Ariel Sharon presents objectives at a press conference. Photo: Yaacov Saar

Sidon – Movie poster: “The Land That Time Forgot“. Photo: Yoel Kantor

Waiting to see if Bashir wins

Anticipation is already building in Israel today, as people across the country wait to discover if the Israeli movie Waltz with Bashir will win an Oscar at tonight’s ceremony in Los Angeles.

Certainly things look pretty good for the critically acclaimed movie by Ari Folman. It’s already won a string of prestigious awards – from a Golden Globe to an award for the best documentary from the Writers Guild of America, and gambling Web sites are predicting that the Israeli contender for the best foreign film is the most likely of all the entries to win the award.

Critics have also indicated that the movie, which deals with Israel’s invasion of Lebanon in 1982, is their favorite for the prize as – aside from its moving and powerful story – it also breaks new cinematic ground. Critic David Carr, from The New York Times, urged readers to “Put a nickel on Bashir, and keep it there.”
We all love it here when an Israeli film (musician, artist, model etc. etc.) makes good. Last year hopes were high for Beaufort, another moving anti-war film also set in Lebanon, but it was pipped at the post.
For all the success of Folman’s movie, however, there are rumblings of discontent amongst certain sectors of society who feel this, the eighth Israeli Oscar contender, but the one most likely to win, is an anti-Israeli movie.
Folman’s effort to piece together his memories as a combat soldier of the Lebanon War, and particularly the massacre at the Sabra and Shatilla refugee camp in Beirut, are regarded as unjustly demonizing Israel.
Stung by the criticism, one of the film’s backers, the US Foundation for Jewish Culture and Makom, has put out a study guide explaining why the film isn’t unfair. The guide is based on Israel’s own investigation into Sabra and Shatilla, gives the history of the battle, and charts its aftermath.
But why does criticism of Israel’s actions or behavior in a war have to be anti-Israeli? Folman’s film, like Joseph Cedar’s Beaufort before it, is a profound attempt by a soldier to examine a very painful part of his own history and that of his country. It’s soul-searching at its deepest level. And what it reveals about Israel is that this soul searching, doubt and regret is a fundamental part of who we are.
In the media, particularly during the Gaza war, but in many wars and conflicts, Israel is often portrayed as a militaristic nation that doesn’t really give a damn about who gets hurt. Films like Beaufort, and Waltz with Bashir, may not be easy viewing, but they show a completely different truth.

Golden Globe for Waltz with Bashir
Bashir still dancing

Waltz with Bashir gets Oscar nod and Beirut screening

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.”

Golden Globe for Waltz with Bashir

The innovative retro-animated documentary Waltz with Bashir won the Golden Globe Award for Best Foreign Film yesterday in California, and director Ari Folman did not miss the opportunity to reflect on the poignancy of the victory from the podium.

It’s a big deal when any Israeli film wins a big international award, regardless of how many it won in the past or how much buzz there is over the possibility of an Oscar nod when the nominations are announced in about two weeks.

But with an ongoing conflict in Israel’s south making for a parallel media war battling over the opinion of the world’s citizens, an Israeli victory in Hollywood becomes even more significant – especially given the movie’s introspective soldier’s experience narrative.

The Jerusalem Post today sums up Folman’s acceptance speech thusly:

Folman thanked his team and his wife and dedicated the award to the babies born to his team members over the four years during which the film was made.

Expressing his wish to see peace arrive in the war-torn Middle East, Folman said he hoped one day these babies will regard the film and the war it describes as an old video game with which they had nothing to do.

Sadly, war’s status as hell is a timeless theme, one which speaks to the Israeli experience far more than it ought to, and The Hollywood Reporter managed to get Folman talking about it even more behind the scenes, and thankfully, with a tinge of optimism:

Folman was a man of few words backstage but did say he is sad that his film, about conflict in the Middle East, is relevant in light of the current Gaza incursions. “Unfortunately, this film is always relevant,” he said. “It has only one major statement (one of anti-war). It was relevant two years ago (when I began making it), and it’s still now.” Folman said he hopes for the best for that part of the world. “I am very optimistic (for peace), or I wouldn’t have done this,” he said. “It’s a matter of leadership: A time will come that both sides will have clever leaders who will work it out.”

Image courtesy fuxoft from Flickr under a Creative Commons license.

The filmmakers’ visit

There’s plenty of buzz surrounding the possibility that Israeli animated documentary Waltz with Bashir may end up nominated for a Foreign Language Oscar. The official Academy Award nominations won’t be announced until January 22, leaving us plenty of time to focus instead on how the movie has already helped a great deal with putting Israeli film on the international award map, and how the global movie industry and Israel have been going had-in-hand more and more.

Israeli lawmakers took major steps towards enabling Hollywood “runaway production” here this past summer.

More recently, studio mogul Jeffrey Katzenberg organized for Ben Stiller, Chris Rock and Jada Pinkett Smith to attend the Netanya premiere for Madagascar 2, whipping local fans and less local media outlets into a celeb-feeding storm.

And last month, William Morris Agency senior Motion Picture Department executive David Lonner teamed up with the Los Angeles Jewish Federation to bring several top movie execs to Israel to check out the scene here. Lonner organized a similar trip two years ago, but this time, he managed to bring big names like director Peter Sollett (Nick and Norah’s Infinite Playlist) and producers Nathan Kahane (Juno), Darren Star (Sex and the City) and Roger Birnbaum (The Sixth Sense, pictured). The Jerusalem Post recounts the experience in detail, with coverage including these moguls’ advice for how ambitious Israeli filmmakers can make it big overseas:

“They’ve got to cross the bridge,” says Kahane. “Make films inside the system, like some directors from Mexico have recently – Alejandro Gonzalez Inarritu, Alfonso Cuaron and Guillermo del Toro. They came and conquered Hollywood, then they can go back and work at home again. But they’ve branded themselves in the international community. It creates the opportunity to grow and play in the A-game. And it broadens the conversation on cultural identity outside the film industry as well.”

Birnbaum agrees, saying, “If they want to be competitive in the world marketplace, they need to tell stories that are more universal and make movies that work all over the world.”

Moreover, the trip included visits to tourist hotspots, a Q/A session at the Tel Aviv Cinematheque and a meet-and-greet dinner with local industry luminaries like actress Ronit Elkabetz, the Oscar-nominated writer-director Joseph Cedar and writer Etgar Keret. “They were very eager, very knowledgeable, a talented and diverse group of people,” Kahane says of the group.

Bashir still dancing

Under the auspices of the Haifa Film Festival and the Tel Aviv Journalists’ Association, the Israeli Film Critics Awards ceremony gave Ari Folman’s Waltz with Bashir a statuette for being the year’s “Best Israeli Film” earlier this week.

The IFC award will have to vie for surface space on Folman’s mantelpiece, as Bashir, a new fusion of genres (documentary and animation), has been garnering accolades for quite some time now. Aside from perhaps finally heralding the dawn of the Israeli feature film animation industry, the movie received mad love at Cannes this past summer.

Now people are starting to wonder if it could be a contender for an Academy Award in the “Foreign Language” category – the category that allowed Joseph Cedar’s Beaufort to beat out The Band’s Visit for an Oscar nomination at the last ceremonies. Could Israeli films possibly be nominated for two Oscars in two years?

The Academy recently released a list of 67 movies chosen for the award by 67 countries, with Waltz with Bashir representing Israel. Since no animated movie has ever received a nomination in the Foreign Language category, it’s highly unlikely that Folman will make it to the red carpet. But then again, given that the Jews rule Hollywood with an iron fist, one never knows….

 

• Subscribe

  Subscribe to Israelity via email:

• Social Media

  • Twitter
  • YouTube
• • Facebook

• Tag Cloud

  israeli photography vote Travel photographers Gaza Israel election Art Yom Kippur Music Environment festival Paul McCartney Israelis Kadima Green Prophet Operation Cast Lead photo exhibition Waltz with Bashir Sderot israeli nostalgia race shopping War Nostalgia Sunday photographer Politics photograhy holiday hamas photography coexistence photo tourism nostalgia succot knesset Foto Friday Rosh Hashana Tel Aviv jerusalem Dead Sea IDF Religion Food

• Categories

  • A New Reality
  • Art
  • Blogging
  • Business
  • coexistence
  • Crime
  • design
  • Environment
  • Food
  • Foto Friday
  • General
  • health
  • History and Culture
  • Holidays
  • Immigrant Moments
  • Israeliness
  • Life
  • Medical Breakthroughs
  • Movies
  • Music
  • Nostalgia Sunday
  • Picture of the Week
  • Politics
  • Pop Culture
  • Profiles
  • Religion
  • Sports
  • Technology
  • Travel
  • War

• The Face of Israel Today

• 

• About Israelity

  Israel is often seen as a place of conflict and strife. In reality there is much more: there's business and research; art and culture; community and family. At ISRAELITY, Israelis blog their daily thoughts, experiences and insights. It's the real Israel, not the media's Israel. It's people living ordinary lives in an extraordinary place.

• Free newsletter

  Sign up for ISRAEL21c's free weekly newsletter Email:

• Stories from ISRAEL21c.org

  • Jewish and Arab women break barriers
  • Mega-disaster emergency drill in Haifa
  • Israel's seven top industrial designers
  • Get ready for Jerusalem Marathon 2011

• Popular Posts

  • Foto Friday – The Israel Photography Exhibition 2
  • 2 days of pluralistic learning (and sex) in Jerusalem
  • Afraid to go to sleep – Paranormal Activity hits US cinemas
  • Seeing stripes in Gaza
  • A Jerusalem encounter

Recently Written

• Foto Friday – Inspecting the Pipeline with Chaim Daon
• Oud v’Rikoud
• Going to the zoo
• Tel Aviv battle of the bands
• The week that was
• Israel to get its own MTV
• Israel at the center of alternative energy development
• Bayit banamal
• Nostalgia Sunday – Shaare Zedek Hospital’s Schwester Selma
• Walking with the King – Israeli style

OUR COMMUNITY

Recent Comments

• GEORDIVIOVE on Posting on “Israelity” about a post on “Israellycool” that’s about a blog called “Israelli.”
• Nicky on The week that was
• Nicky on Ghosts in Israel? Not likely
• Carl Muller on Picture of the week: Finding friendship in the ruins of war
• Karin on Ghosts in Israel? Not likely