Past Life tracks the daring late 1970s odyssey of two sisters - an introverted classical musician and a rambunctious scandal sheet journalist - as they unravel a shocking wartime mystery that has cast a dark shadow on their entire lives.
In the easy-going, sexually-liberated 1970's Tel Aviv, three young friends, struggling filmmaker Nati, his impressionable girlfriend Ossi and his geeky friend Mushon, move in together in a ... See full summary »
Strong female protagonists have been the mainstay of many Avi Nesher films. In 'The Other Story', two rebellious young women - one fleeing the chaos of secular hedonism for the disciplined ... See full summary »
In The Secrets, two brilliant young women discover their own voices in a repressive orthodox culture where females are forbidden to sing, let alone speak out. Naomi, the studious, devoutly ... See full summary »
Love Letters to Cinema is a collection of ten "letters" in the form of short films (4 minutes each), written and directed by ten outstanding Israeli directors. The films and the directors ... See full summary »
As a family from India moves in to a desert neighborhood in Southern Israel in the 1960's, the family's eldest, beautiful daughter discovers friendship and romance with the lovely local ... See full summary »
When someone tries to murder watchmaker Eddy Kay, the incident triggers a barrage of nightmares and flashbacks into a past that isn't his own. Fearing for his sanity, Eddy contacts ... See full summary »
Comedian Adir Miller is cast, with a full but short beard, as a fellow with a secretive profession. In his personal life, he is cut off from the woman he loves. He hires our protagonist, who can always use a little money, to facilitate his snooping. He scornfully nicknames the protagonist, with whom his working relationship is strained because they see the case from different points of view. That brief description fits both THE WONDERS and Avi Nesher's previous film THE MATCHMAKER (or ONCE I WAS). Regarding Adir Miller's character, the main difference is that in THE WONDERS he doesn't smile. But THE WONDERS is a further artistic step for Nesher because a string of successes in Israel (following a sojourn in the USA that seems to have been less successful) seems to have given Nesher the confidence to follow his instincts past the point where everything in the movie fits together traditionally. Nesher dares to revisit Alice in Wonderland (having visited it before in his American movie RITUAL), he fiddles with animation, he takes risks in casting. One reviewer complains that as Nesher's protagonist roams here and there on his mission, the story ultimately adds up to no clear message unless you count a bit of ethnic stereotyping. But for the most part, the movie seems to be enjoying an enthusiastic reception, and in my opinion rightly so.
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