With the feel of experimental film, Gitai mixes storytelling, readers' theater, cityscapes (usually seen from moving trains), and desolate landscapes to mediate on the act of creation. What... See full summary »
Danny Cornish, a sort of stateless man who arranges art exhibits, is called from Tel Aviv to Paris with the news that a great uncle has died, in Birobidjan, the autonomous Jewish zone in ... See full summary »
A slice of life - day after day - in Haifa, where Moshe and Didi's marriage is on the rocks, affairs are casual, and Moshe's angst about health, his parents, sex, communication, and ... See full summary »
The film takes place in 1973 during the Yom Kippur War in which Egypt and Syria launched attacks in Sinai and the Golan Heights. The story is told from the perspective of Israeli soldiers. ... See full summary »
With the feel of experimental film, Gitai mixes storytelling, readers' theater, cityscapes (usually seen from moving trains), and desolate landscapes to mediate on the act of creation. What if a golem were fashioned out of dirt, much like Adam, and came to life? The film imagines it, in the desert and in Moscow. Interspersed are stories of a 14th-century Tuscan artist's creation of a tower that plays music when the wind blows, of a film director, and of Jeremiah and Sirat. In what ways is making a movie like creating a golem? Written by
The Golem tale has much potential and Gitai tries to mine it for this obscure film, but all the layerings and actual overlays -- a technique I think he abuses -- only come off as pretentious and self-indulgent. Not that I expected a conventional film or even an edifying one, but even the mood and tempo didn't add up to much for me. It came across more as a series of experimental vignettes not weave together into a film. It felt more like I was watching a film school project than the work of a great director. Some of the scenes were even annoying. I couldn't wait until it was over.
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