6.7/10
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23 user 125 critic

Lemale et ha'halal (2012)

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When the older sister of Shira, an 18-year-old Hasidic Israeli, dies suddenly in childbirth, Shira must decide if she can and should marry her widowed brother-in-law, which also generates tensions within her extended family.

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13 wins & 16 nominations. See more awards »

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Cast

Cast overview:
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...
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Chayim Sharir ...
Aharon (as Chaim Sharir)
Razia Israeli ...
Aunt Hanna (as Razia Israely)
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Yael Tal ...
...
Shtreicher (as Michael David Weigl)
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...
Bilha
Melech Thal ...
Rabbi
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Storyline

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

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Genres:

Drama | Romance

Motion Picture Rating (MPAA)

Rated PG for mild thematic elements and brief smoking | See all certifications »
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Details

Country:

Language:

Release Date:

18 October 2012 (Israel)  »

Also Known As:

Fill the Void  »

Filming Locations:


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Box Office

Opening Weekend USA:

$59,164, 26 May 2013, Limited Release

Gross USA:

$1,774,639, 29 September 2013
See more on IMDbPro »

Company Credits

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Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

Hadas Yaron had to lie to get out of her military duty to audition for the film. See more »

Connections

Featured in At the Movies: Venice Film Festival 2012 (2012) See more »

Soundtracks

Im Eshkachech Yerushalayim
(uncredited)
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User Reviews

 
Slow pace, great visuals
23 October 2012 | by See all my reviews

In this movie an eighteen-year-old girl, living in an Orthodox Jewish environment, has to make a fateful decision while surrounded with uncertainty-- not only about the consequences of her decision but also about the limits, both outside herself and within herself, on her freedom of action. The movie focuses prominently on her not only figuratively but literally. Her pale, round, expressive face fills the foreground again and again, against the background of brownish interiors and black-clothed men, and it's not a face the viewer gets tired of, nor does it turn her predictable. There are surprises in her behavior, and the audience accepts them. Not so with her male counterpart; when his emotional scene came, I'm sorry to report there were people in the audience who laughed. The movie hadn't made the necessary prior investment in sympathy for him. But to the extent that it belongs to Hadas Yaron as an actress and a photographic subject, it's well worth watching-- and it knows it is; it gives the audience plenty of time to appreciate each shot.


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