Einaym Pkuhot (2009)

Director:

Haim Tabakman

Writer:

Merav Doster (written by)

Release Date:

2 September 2009 (France)

Genre:

Drama

Plot:

A married, Orthodox Jewish father of four falls in love with a twenty two year old male student. |

Plot Keywords:

Jewish | Jewish Family | Gay Character | Orthodox Jew | Rabbi

Awards:

2 wins & 4 nominations

Cast

Zohar Shtrauss	...	Aaron
Ran Danker	...	Ezri
Tinkerbell	...	Rivka
Tzahi Grad	...	Rabbi Vaisben
Isaac Sharry	...	Mordechai
Avi Grainik

Also Known As:

Eyes Wide Open (International: English title)
Eynaim Pekukhot (Israel: Hebrew title) (alternative spelling)
Tu n'aimeras point (France)

Runtime:

France:91 min

Country:

Israel | Germany | France

Language:

Hebrew | Yiddish

Color:

Color

Sound Mix:

Dolby Digital

Certification:

Switzerland:14 (canton of Vaud) | Switzerland:14 (canton of Geneva)

Filming Locations:

Tel-Aviv/Jaffa, Israel

Company:

Arte

Collision of religion and sexuality in the Orthodox Jewish world

I attended the North American Premiere of "Eyes Wide Open" at the 2009 Toronto International Film Festival. This is a somewhat provocative yet understated examination of what it's like to be gay in the Orthodox Jewish world. In his first feature, director Haim Tabakman, working from a Merav Doster script, introduces us to Aaron (Zohar Shtrauss) and Ezri (Ran Danker). Aaron runs a Kosher butcher shop that's been in the family for generations. Ezri is an outsider, already under suspicion for questionable behavior, who enters Aaron's world with possible intentions beyond purchasing a hunk of meat. There's a joke there but I'll resist. The cultural constraints placed upon gays, or anyone who is different, are painfully drawn out as the neighbors decide what actions to take. The Orthodox Jewish community sends in its own goons (enforcers of God?).

This character-driven film is haunting and poignant. Like many foreign films, natural lighting is predominant. The cinema verité style, without regard to shadows, is much more powerful than images in traditional Hollywood movies -- provided the images aren't too dark -- a problem I've seen here with some films. The score is used sparsely, only to punctuate the more emotional moments. The pace is slow and deliberate, while long takes with little dialogue allow the actors to speak with their eyes, facial movements, and body language.

The collision of religion and sexuality is a common theme at every film festival. What is the meaning of restraint? Are we really being true to God if we destroy ourselves in the process?