פוֹקְסטְרוֹט
Ohjaus:
Samuel MaozKäsikirjoitus:
Samuel MaozKuvaus:
Giora BejachNäyttelijät:
Lior Ashkenazi, Sarah Adler, Yonaton Shiray, Karin Ugowski, Shira Haas, Yehuda Almagor, Roy Miller, Mussa Zhalka, Irit Kaplan, Noam Lugasy (lisää)Suoratoistopalvelut (2)
Juonikuvaukset(1)
Michael and Dafna are devastated when army officials show up at their home to announce the death of their son, Jonathan. Michael becomes increasingly frustrated by overzealous mourning relatives and well- meaning army bureaucrats. While his sedated wife rests, Michael spirals into a whirlwind of anger only to experience one of life's unfathomable twists which rivals the surreal military experiences of his son. (Venice International Film Festival)
(lisää)Arvostelut (5)
With one brief scene lasting mere seconds, everything starts to make sense and becomes much
deeper. Original in terms of both form and content, Foxtrot is a reflection on twists of fate and the
necessity of paying the price for everything. It is a powerful, heavy film in which sorrowful drama is
delicately lightened with absurdly grotesque moments, just as tends to happens in life.
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There are films that are pleasant to watch, relaxed, and likable, with which you spend two hours of your time only to forget about them the next day. And then there are those that are less accessible, watching them means undergoing a certain effort and struggling with them for a while, so that they resonate within you for a long time, forcing you to return and to reflect and compare. That's exactly what Foxtrot is like. It's not a film you sympathize with and that wins you over at first sight. Each of its three parts has a different character - and only the third part connects and justifies the existence of both previous parts. I had a problem with the intimate nature and slow pace of the first part, but the Kafkaesque absurd atmosphere with a blurred camera in the second third awakened me from lethargy, and I perceived the painful reconciliation with the reality of two aging partners, who are left only with memories, with maximum sensitivity. When a few days ago I wrote about Tehran Taboo that it was the highlight of Febiofest 2018 for me, I didn't know yet what kind of competition it would have in Foxtrot. Both films are unpleasant for the ruling regime and hit it in the most sensitive spot. But Foxtrot is more artistically sophisticated and demands more from the viewer. Both are politically engaged and provocative, but Foxtrot is more intimate. It has tremendous power in its ability to point out revealing details and to capture and highlight the characteristic rituals of the prevailing system. Despite all the depression it brings, Foxtrot shows how much better Israeli society is compared to Iran. The film didn't have to be created in exile, nor is it the result of dissident courage. It is part of the discussion in the public space and evokes controversy, which is never a bad thing. Overall impression: 95%.
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A bizarre satire. It might be seen as warlike, but it's not about war. In fact, I have to admit the only part I was really into was the middle third where I liked all the military irony going on, but the family aspect of the story was not my cup of tea. Besides, when the action follows a closed cycle, it becomes clear in advance for the viewer. All in all, it’s still a high quality effort to which I can’t reproach anything, except that I would have preferred to see more funky incidents from a nihilistic Israeli squad rather than this hyperdramatic story of a poor family locked in a flat, which is somewhat excessive. [LFŠ 2020]
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If I had to quietly acknowledge after the first act that the world's longest-built joke had just been played on me, then afterward I had to become hoarse with disappointment that it wasn't intended to be and was merely a sophisticated narrative play where the entire first passage is spot-on in its form. Can you grasp the potential, to go to the effort of creating a half-hour slow, clinical, painful, silent sequence, only to then knock it down in one swoop? Unfortunately, Foxtrot can't rise above itself, though it tries terribly hard to pretend it can. It's terribly clunky and painfully literal and futile towards the end, and we have to pointlessly watch in long, static shots dialogue like "You're like an excavator. And I'm like a tow truck." "I actually think you're the excavator. And I'm the truck." Ugh.... PS: for those who think the Romanian New Wave is a good idea, this will be a treat.
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It is by no means an attractive film for the audience, but if you let yourself be absorbed by it, you will not be disappointed. The slow pace of the narrative, combined with the cleverly constructed story, may seem to lull your attention, but at unguarded moments Samuel Maoz hits the mark with such force that you will be reeling for a long time. I have perhaps never encountered a more intimate and urgent depiction of the absurdity of war. (85%)
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