Two women embark on a road trip after they are brought together by circumstance. Rebecca (Portman) flees her hotel after a fight with her mother-in-law (Maura) and hails a taxi driven by Hanna (Lazlo).
A husband-and-wife team play detective, but not in the traditional sense. Instead, the happy duo helps others solve their existential issues, the kind that keep you up at night, wondering what it all means.
Based on the true childhood experiences of Noah Baumbach and his brother, The Squid and the Whale tells the touching story of two young boys dealing with their parents' divorce in Brooklyn in the 1980s.
The confused American Rebecca has left USA to live in Jordan. After breaking her engagement with her Israeli boyfriend, she asks the Israeli taxi driver Hanna to take her anywhere but the place where she is. Hanna tells her that she needs to go Jordan's Free Zone, a place surrounded by Syria, Iraq and South Arabia, to receive US$ 30,000.00 that the Palestinian partner of her husband called "The American" owes to him. When they arrive in the location, they do not find the "The American" but a Palestinian woman called Leila. Hanna forces Leila to take her to meet "The American" in his Oasis, but when they arrive there, she is informed that his son has burnt the place, stolen the money and crossed the border. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
A crowd of ultra-orthodox Jewish worshippers confronted Natalie Portman and her co-star Aki Avni, objecting to the couple kissing during the filming of a scene beside Jerusalem's Western Wall. The crowd charged and shouted "Immoral, immoral!" Police asked the actors to leave and return later, and they agreed. See more »
When the vehicle is just approaching the border crossing near the end of the film (1:23:00 on the DVD) we can see the silhouette of someone wearing a baseball cap moving about in the back of the vehicle. See more »
[after prolonged sitting in car crying]
Can we go? Can we leave this place? Please.
I don't know. Let's get out of here, please.
See more »
Motion Pictures are not one, but many genres. There are films poised solely to entertain, others to politicize, and yet others are art.
FREE ZONE is art in a film format. Just as most art, it relies more on senses, feelings, aesthetics, and perceptions. Unfortunately, for the unimaginative and unengaged, it can sometimes be unintelligible.
The film begins with a very long close-up shot of a beautiful young woman (Natalie Portman) copiously crying in the back seat of a car, to the Jewish children's rhyme "Had Gadia". The powerful arrangement in crescendos adds pathos to the girl's exteriorization of heart-felt anguish, and the seamlessly-never-ending stories of increasing consequences and characters (sung in Hebrew but appropriately subtitled) add confusion and exasperation. The sense of utter discomfiture is only compounded by the audience's utmost ignorance of the character, her surroundings, and her motivations. Her despair is our despair, but we, much as she also seems, are lost.
Slowly we learn she is parked by the Kotel, or Wailing Wall, in Jerusalem. We also learn she has just fought with her would-be mother-in-law and broken off her engagement to her Spanish-Israeli fiancé. Thus her personal loss becomes the middle-eastern mourning, and her very personal suffering symbolizes the tears and hopelessness of whole peoples and an entire land.
Immediately one is faced with a choice. To watch the rest of the movie as a narrative, or to perceive the allegory it propounds. To choose the first is to misunderstand it entirely, and miss on the powerful images and senses.
Rebecca (Natalie Portman) is an American who struggles aimlessly through life without a clear sense of identity. Her father is Jewish, but she carries little or no pride in her heritage, ignorant even of her status as a Jew (or not). She feels uneasy in her American home, and in a search for an identity that suits her, she acquires (and loses) a fiancé and a home in Israel. How she reacts to the landscape (so extensively shot, in exquisite details) and to the people (diverse, albeit through quick and superficial contacts) symbolizes the author's perception of the American (as in people or nation) own sense of identity and appreciation of the Middle East.
She joins Hannah (Hanna Laslo), a Russian-Israeli middle-aged woman whose life stories unfold piecemeal as a symbolical-historical window on the Israeli nation, on a trip to the Jordanian free trade zone on a mission for personal and familial financial salvation. Her determination and her biases (often even callousness) are obviously shaped by her pressing needs and her clear life trajectory, as evidenced by the unusually thorough (as opposed to the other characters) exposition of her past. Her reactions to her American travel mate, the obstacles in her quest, and the eventual Palestinian they meet clearly embody the Israeli national persona, dreams, fears, and strengths.
The Palestinian our heroes meet is Leila (Hiam Abbass), whose family present as Hannah's possible salvation (as in the money her husband owes her) or damnation (as in the fall-out from the misguided actions of her rebellious and contentious son). Torn between her loyalties to her own family and her duties toward this Jewish woman, she joins the other women in their quest for redemption.
The women allegorize their respective nations. And yet, their struggles are very personal and transcend national identities and interests. The combination of the three, and how they interact amongst themselves to work out their individual travails, masterfully conveys the powerful emotions in the confluence of tribes, nations, countries, and religions in this most convoluted region. The attention to the national frontiers (what role they play in segregating these peoples) juxtaposed to the more promiscuous exchange amongst the actual peoples (their representational counterparts in the characters) is quite fascinating.
The narrative is non linear, relying mostly on feelings and emotions. The filmography is untraditional (a lot of hand-held camera movements, as if the audience is privy to the story, watching a family road trip video) and experimental (long and confusing, yet dramatic, layering of images and back-plots, creating familiarity with back stories, yet maintaining distance thru the lack of clear focus or images). The plot is mostly allegorical, therefore characters are not really introduced and developed as they are thrust upon the audience (with the implication that one already knows them, or who they represent), played out in short pericopes and less of an overarching story.
The film is beautiful and insightful. If you prefer mass produced Hollywoodean one-size-fit-all entertainment, this is not the movie for you.
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