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).
The phone rings, startling Tomas, who is seated in front of the computer. He feels for the telephone receiver. Tomas is blind. His girlfriend, Francine, tells him that it's all over and ... See full summary »
The story of Amos Oz's youth, set against the backdrop of the end of the British Mandate for Palestine and the early years of the State of Israel. The film details the young man's relationship with his mother and his beginnings as a writer, while looking at what happens when the stories we tell become the stories we live.
Rebecca, a young American lady who has been living in Jerusalem for a while, suddenly breaks off her engagement with Julio, her Israeli fiancé. In a state of emotional shock she gets into a taxi and asks the diver to take her anywhere she likes but away from the place where she broke up. Although reluctant, Hanna, the driver lets her accompany her to Jordan's Free Zone where she is to meet "The American", her husband Moshe's Palestinian business partner. Once there, they realize "The American" is not there but a Palestinian woman named Leila offers them, after much bickering with Hanna, to take them to the oasis where "The American" lives... Written by
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.
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It would be easy to misunderstand or even miss the whole point of this movie. But if you can get past the endless opening scene of a sobbing Natalie Portman, by the end Gitai has explored three characters (with great acting performances), three women from different cultures, and three countries. I don't want to give away the end, but Gitai has managed to make a point about Israelis, Palestinians and, after some thought about his set-up of the character, especially Americans. This makes some of the slower, strained parts of the movie better, even makes them seem to fit together nicely. My grade might be a tad high, but it's rare when any movie maker pulls off character, acting, politics, and characters that well represent their different societies. For that, this movie gets a lot of credit.
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