Like millions of other couples, Mounir and Murielle fall in love. Like millions of other couples, Mounir and Murielle have children. But unlike them, they accept to give up their autonomy ... 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.
Ayse, a beautiful 19-year-old girl from the Turkish countryside, is chosen to be married to the handsome Hasan, son of formidable and house-proud mother Fatma, who resides in Vienna with ... See full summary »
Nihal G. Koldas,
Romeo and Juliet in Yiddish is a gritty, funny love story about charismatic and wayward Satmar Hasid youth who encounter Shakespeare's Romeo and Juliet when they help a jaded NYC emergency room nurse with the play's translation.
Ya'ara, 24 years old, is attractive, independent, confident and intelligent, and she has just begun her PhD in Mathematics at Princeton University. Ya'ara is blind. When she hears of her ... See full summary »
The film deals with a personal experience, in which a person feels helpless and powerless in his home turf. Specifically in this film that person is Rona, a young woman, sexually inhibited;... See full summary »
A devout 18-year-old Israeli is pressured to marry the husband of her late sister. Declaring her independence is not an option in Tel Aviv's ultra-Orthodox Hasidic community, where religious law, tradition and the rabbi's word are absolute. Written by
Sundance Film Festival
Over the last dozen or so years, no less than seven films have been made about the orthodox religious community in Israel. These films are:
Forbidden Love (1999); Kadosh (1999); Bat Kol (Inner Voice) (2002); Ushpizin (2004); My Father, My Lord (2007); The Secrets (2007); Eyes Wide Open (2009).
All these films were made by non-religious or at least non-orthodox film makers, and then along came Fill the Void. Its director and scriptwriter, Rama Burshtein, is an orthodox woman who is also a film maker.
Which raises the question whether this new film is more authentic than the previous ones, whether it portrays the orthodox community more faithfully. It should be understood that the orthodox communities in Israel are tightly-knit units, abhorring the outside, modern Western way of life which they perceive as decadent, immoral and corruptive. They still dress as did their ancestors in the Shtetl in Eastern Europe centuries ago, talk mostly Yiddish among themselves and of course, inter-marry only within their milieu.
Fill the Void is indeed about this latter issue, the question of marriage. The questions raised by the protagonists may seem quaint and even amusing to us, but seem of paramount importance to them, as if no other issues occupy their closed life.
This reviewer has no way of assessing the veracity of the facts and can only rely on subjective impressions. The film "rings true", feels true, and the fact that some of the actors come from a religious background adds to the feeling. Viewers might sneer at the seemingly irrelevant questions facing those "strange" people, but the acting convincingly conveys the sentiment that we are indeed dealing with a grave situation.
I came out of the theater thinking not about the heroine, blandly played by Hila Feldman, or about the way she handles her private demons and dilemmas, but about the strange, foreign, incomprehensible community living not a mile away from my house in the same city, yet separated from me by an unbridgeable chasm.
A disturbing movie.
27 of 38 people found this review helpful.
Was this review helpful to you?