As a family from India moves in to a desert neighborhood in Southern Israel in the 1960's, the family's eldest, beautiful daughter discovers friendship and romance with the lovely local ... See full summary »
Eliezer and Uriel Shkolnik are father and son as well as rival professors in Talmudic Studies. When both men learn that Eliezer will be lauded for his work, their complicated relationship reaches a new peak.
The unexpected death of the family patriarch throws every member of the Ulman clan off course. Widow Dafna takes to bed for three months and when she finally returns to her job at the maternity hospital, she has little time for her children. Eldest son, Yair drops out of school and adopts a fatalist attitude, shutting out his siblings and girlfriend. His twin sister Maya, a talented musician, feels the most guilt and is forced to act as a family caregiver at the expense of career opportunities. Bullied at school, younger son Ido responds by obsessively filming himself with a video camera and attempting dangerous feats. The baby sister, Bar, is woefully neglected. Preoccupied with their own misery, the family is barely a family anymore. When another tragedy strikes, will they be able to support one another? Written by
Sujit R. Varma
"Broken Wings (Knafayim Shvurot)" is a frank, involving portrait of a family coping with grief and stress.
Even more than such films as "Ordinary People," debut writer/director Nir Bergman has a sure touch in showing us the pressures and responses of a full range of individual family members, from the depressed working mother to her children -- five year old daughter, ten year old son, and and their teen brother and sister.
Within very realistic crowded and complicated living, working, school, and peer friendship environments, we see each as distinct individuals with guilts, needs, issues, and talents, and as the dependent members of a family unit dealing with past and present pain and crises, including through music.
I don't know the technicalities of the film stock, but the grittiness of the cinematography contributes to the naturalism, as well as the un-Hollywood, un-pretty look of the actors.
As an Israeli film what also adds to how touching it is is its non-political, non-geographically-necessary-specific content. This is just a beautiful human story of love and responsibility.
While the opening credits are bilingual Hebrew and English, the closing credits, annoyingly, are not.
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