Nobody expected Nadaf Lapid to decline in his first feature since the events of October 7, 2023: The Israeli director has long been critical in the cinema in the cinema “and” Ahid “in Foreri and Farahn in 2019, and” Ahid “in Forerichs Vivory and i Artet. The intense spitting of anger against the state, which was presented to the hero of the empty ethical novel: a self -accompanied by a new national anthem, celebrates the stadium of paragraphs. Like any movie with a break for dance extending up to 2000, “Ketchup” can be.
After “Amd’s Knee”, which was played in a competition at the Cannes Festival and won the jury award, this huge work that wanders out of the festival’s official choice was first shown at the end of the direction of the directors-lifting eyebrows. It is difficult to doubt the level of some programming about a movie about a great and hot provocative movie, which is likely to continue outside the festival. Many Arthouse distributors will say no, “Yes”, a movie that will definitely remain the dispute even among the fans who share their policies, given their screams, strange stages of tone and elegance. But this is not a cinema made with the intention of adopting or granting it by any faction: it is a pleasant matter at the present time, the response of an immediate film director and is not a candidate for very urgent atrocities so that it cannot be cured brilliantly or good taste.
Pong with Ping-Ponging patterns of MOROSE containing the wonderful vitality by Ariel Bruns, our hero is hardly (the same hidden name, albeit the same character, like the protagonist in “Tell me a knee”), and he is the pianist and the performance that was presented in the middle of the production of the ears, cherry tomatoes in a swimming pool, and made the dance partner Yasmine (Evat Dor). It was also turned out to be his wife, and they win their livelihood and perform this type of unparalleled floor display at the Baying Tel Aviv parties.
Whether the battle of dance followed this with a crowd of Israeli military leaders is an official part of the routine or not, it seems to speak regularly anyway, as Yasmine begged calmly her husband to allow them to win-before they complete the night profits with some three-year sexual work for an elderly agent in the engraved client. Welcome to “The Good Life”, as the first chapter of the film bears the title with sadness – good for those you may ask, although you barely need it.
One day, Y and Yasmine live in a modest apartment in the city with their infant son, where they work more as a musical and hip -hop -hop -hop teacher. These are difficult times for artists, and they take what the vehicles can get: The title “Yes” apparently reference to the word that cannot be simply, simply cannot no Say, at any cost of his safety and rationality. In particular, a big offer cannot-but in fact, rejects the Russian few (Alexei Siberiakov, who is recently seen on a similar effect on “Anura”) in bed with the Israeli authorities, who predicted the formation of music into a post-Ox national class. There is no standard set of national communications, where Yi words are given to work with a barbarian pride on the huge scale of the massacre that the Israeli army had caused to Gaza in the past eighteen months: “In one year, there will be nothing left there/we will return safely to our homes/we will all release them/and return to our field.”
Lapid is trading in Entil, spelling for unfamiliar times-Y at some point literally and licks the lavishness of the wealthy donor shoes in the knee-so these horrific verses initially appear sharp caricatures of Israeli nationalism in most of them with mercy. But the great development that motivates Gasp is that these songs are not a product of the director’s imagination, but they are taken from realistic formation by the anti -Palestinian activist group. Also Real is a climatic music video clip in which the song is directed through a choir of excessive children, and their faces that have been changed by artificial intelligence-may not be a productive propaganda of the state, but it indicates a evil political climate that is difficult to simulate mockery in its surplus and limbs.
After a state of drunk, the amazing madness was from the first verb, and the second – titled “The Path” – reaches harder residue, as Y, after whitening his hair and wearing velvet, non -seasonal and snake shoes, takes a single trip to the desert to work on the song. For pathological inspiration, he is approaching the Palestinian border, which is referred to as a carried bus of black smoke, and his ex-girlfriend Leah (Nama Press) joins her, an employee of the Israeli Defense Army wandering with him with a comprehensive and vital group of Hamas crimes against Israel-its own way to nominate the panoor in the covered destruction before them. Y, made his best to keep a non -political flash on both sides, not convinced; Meanwhile, he increased Yasmine and the anti -Zionist voice of his late mother, which led him to ask whether he says yes a lot.
The third verb, “The Night”, sees that these conflicting pulses and responsibilities have finally reached her head: may not decide for yourself a clear path to work, but “yes” shows the insolence of his conviction that silent neutrality is not bloodable or sustainable while the end of Gaza is burning. Some may find a movie Labid, which is a repeated and repeated statement, but it is prescribed to be one: it was created by a typical dynamic from the director, but barely lyric such as “synonyms” or intellectually complicated like a “knee”, this is the rhetorical cinema that does not respect any possibility of collapse or bad. Instead, he encourages Labid everything on his side at least at least loud and consistent with protest, provided that you have any opportunity to listen to the continuous war debt.