new york times review (january 1995)
If “Tsahal,” opening today at the Walter Reade Theater, initially seems to admire that toughness unquestioningly, it eventually grows into a thoughtful exegesis of a troubling, complex subject. This film provoked a tear-gas bombing at a Paris movie theater last November, but it isn’t inflammatory on its own merits. Mr. Lanzmann, whose background in philosophy shapes his film making in palpable ways, is more pensive than judgmental. He seeks the essence of Israel’s embattled existence during “46 years of perpetual alarm.” Slowly, doggedly, he arrives at a profound understanding of it by the time “Tsahal” is over.
Loosely inspired by Dostoevsky’s CRIME AND PUNISHMENT, ‘DISSOLUTION’ combines an almost surreal fairy-tale energy with brutal black and white realism to explore the condition of violence which permeates contemporary Israeli society. Shot in Jaffa-the predominantly Arab area of Tel Aviv- the movie follows the moral collapse and first glimmer of redemption of a young Israeli Jew, played brilliantly by non-actor, Didi Fire. This is a deeply personal work about one man’s inner journey, but can also be read as an allegory about Israel’s moral responsibility…as well as a portrayal of male violence towards a devalued feminine. Continue reading
Director Elia_Suleiman uses a mixture of romantic comedy and quirky humor to shed light on the problems of Palestinians in Yadon Ilaheyya (Divine Intervention). E.S. (Suleiman and his girlfriend Manal_Khader), because they live in separate cities, must meet near an Israeli checkpoint. The film is little more than a series of usually comic but occasionally poignant scenes in which Suleiman and others must confront any number of Israeli nemeses. Suleiman’s second film, Divine Interventions, was screened in competition at the 2002 Cannes Film Festival.
— Perry Seibert, Rovi Continue reading
Plot Outline: a story of one woman’s personal battle for acceptance, but also a portrait of a political movement that has forever affected millions of lives in the Middle East. Continue reading
Interview with David Perlov
© Uri Klein, Haaretz, Sep. 29 1993
When you made In Jerusalem did you consciously plan to make a film
that was different, of a kind we’d never seen before?
“Yes, I was aware of the difference. In the film I interview an old man, a
religious photographer, who tells me, ‘No one took photographs in the Holy
Land before me. I was the first.’ I, too, said this while I was filming, but only to
myself. I had a feeling that I was doing something decisive for myself and also
for Israeli filmmaking. Continue reading
Shot over a ten-year period, Diary is not only the political, professional, and personal diary of a man, but is a testimony on the turbulent reality of a war-torn country, Israel. In six chapters, Perlov travels to Tel Aviv, Paris, London, and finally to Brazil, where he was born. The film is also a family diary in which Perlov records the coming of age of his two daughters, Yael and Naomi. He meets with Claude Lanzmann, Isaac Stern, Joris Ivens, Andre Schwartz-Bart, Irving Howe, and Klaus Kinski. An extraordinary mixture of home movies, political documentary, and cinéma-vérité, Diary is a unique work. Ten years of shooting and five more of editing have resulted in a film which has the spontaneity and apparent arbitrariness of a snapshot but which is as carefully composed and graded as a finished masterpiece. Continue reading
Three Palestinian women living in an apartment in Tel Aviv try to find a balance between traditional and modern culture. Continue reading