Ronit Elkabetz (1964-2016)

Terrible news to report today. The great Israeli actress Ronit Elkabetz has passed away at only 51 years of age. 

Her last film proved to be her biggest hit (Gett: The Trial of Viviane Absalem) -- we interviewed her right here -- but that courtroom drama was far from her only gem. We first fell (and fell hard) for the intense raven haired beauty in the astounding Late Marriage (2001) where she played the older woman in a sexually intense love affair with a slightly younger man (Lior Ashkenazi) whose parents were eager to marry him off to a "proper" bride and end his long-standing bachelordom. She won the Ophir (Israel's Academy Award) for that film, one of three wins for her as Best Actress.

If you've never seen "Late Marriage," you really must.She also starred in Or (My Treasure) (2004), the international hit The Band's Visit (2007), and other films in both France and Israel. In the past ten years she'd branched out from acting and with Gett she was directing and writing (along with her brother Shlomi), while continuing to dazzle in front of the camera. Awards groups took notice. She won prizes at the Hamptons, Chicago, Palm Springs, San Sebastian and Jerusalem film festivals for Gett and that last feature also resulted in multiple Ophir nods and a Golden Globe nomination for Best Foreign Film. 

Elkabetz was battling cancer and is survived by her husband and three year old twins. She will most definitely be missed, her rich expanding career cut suddenly short.

TIFF: Baba Joon, Dégradé, Much Loved

on the set of Baba JoonAmir files our last TIFF report on three films, one of them hoping for Oscar...

Baba Joon (Israel)
Israel’s Oscar submission is quite a unique experience: the lives of Iranian Jews who have left their homeland to live in Israel—and are consequently not allowed to re-enter Iran because of the two countries’ bitter relationship has never been portrayed on screen. In Yuval Delshad’s debut feature, the titular character and his clan—a son, his wife and their son—all live on a small turkey farm in rural Israel and live with very modest means. The tensions between multiple generations of the family, and the melancholia of living at once at home and away from home are the film’s central themes.

Baba Joon’s storytelling and the emotional beats are familiar. There is nothing in the strained father-son dynamics, troubled by decades of repression, that we haven’t previously seen on the big screen. The film’s abrupt but rather predictable ending lends it a saccharine flavour that might sit well with the Academy, but undermines the film. When the story’s resolution is presented so neatly with a gift wrap, very little is left for the audience to ponder. Still, this is a heartfelt film of genuinely well intentions, with a sizable novelty factor, whose fresh look at ethnic minorities in the Middle East is quietly delightful.

Dégradé (Palestine/France/Qatar)
This debut film from eccentrically named brothers Arab and Tarzan Nasser, shows similar irreverence in depicting ethnic tensions with Israel. Part Almodovar-esque comedy of women on the verge of nervous breakdowns, part a thriller revolving a hostage situation, their film, which stars Hiam Abbas and Maisa Abd Elhadi, is based in a hair salon in Gaza, where the clientele hail from different social, religious and political backgrounds. As they wait their turns to be beautified, the salon becomes increasingly like a microcosm of Gaza’s society, and the world beyond the confines of the building is engulfed in violence.

Dégradé is an interesting look at life in the occupied territories because it broadens the conversation beyond the Israel-Palestine binary. In the film’s view, the community is rife with tensions and chasms, all exacerbated by the atrocious limitations of living in occupation. Yet, the image is much richer and layered than normally shown on screen, breaking the monolithic view of Palestinians in favour of a more complex perspective. That the film manages to convey these intricacies while remaining consistently entertaining is a significant accomplishment, and one that promises much more from the filmmaking duo.

Much Loved (Morocco/France)
The most daring film among the bunch comes from the more experienced hands of Moroccan director Nabil Ayouch. Ayouch surveys the night club scene in Marrakech, a world filled with sex, drugs and rampant decadence. Home to tourists from Saudi Arabia and Europe, the city’s nightlife is bustling and its sex industry is ever active, almost completely removed from the crisis-ridden country that surrounds it. Almost.  Following Noha (Loubna Abidar) and her entourage of less experienced escorts, Much Loved is as intimate a film as it is provocative.

Ayouch has had to field a lot of controversy, mostly due to the explicit displays of sex in his film; and while the murky release prospects of the film in the Arab world are understandable, it’s unfortunate if sex becomes the only talking point. This is the rare film that intertwines the lives of sex workers with socio-economic issues without becoming patronizing. Morocco’s complicated relationships with Europe and other Arab countries, and its tenuous political situation are subtly worked into the plot of the film. It’s intimate and superbly acted—mostly by amateur performers— and a film that's heartbreaking, humorous and evocative in equal measure. In a festival that is never short on big films from big directors, Much Loved was a true discovery.

Interview: Ronit and Shlomi Elkabetz on 'Gett: The Trial of Viviane Amsalem'

Jose here. In Gett: The Trial of Viviane Amsalem, Israeli goddess Ronit Elkabetz returns to play a part she’s lived with for more than a decade. In 2004, Ronit and her brother Shlomi teamed up as writers and co-directors of a film trilogy that would concentrate on the experiences of a woman as seen through the roles society imposed on her. In the first installment, To Take a Wife, Viviane must deal with being trapped in a loveless marriage to her husband Elisha (Simon Abkarian), in 7 Days, Viviane must sit Shiva and come to terms with the fact that she is obligated to mourn despite not feeling pain. In Gett, which opened this weekend on the heels of its Golden Globe Foreign Film nomination (Oscar passed it by), Viviane is trying to gain her freedom from Elisha, but finds that practically impossible given that her husband hasn’t committed any “sins” against her; her request is deemed invalid by the strict rabbinical court.

In the years since her breakthrough in Late Marriage (2001), also an Israeli Oscar submission, and the first Viviane installment, Ronit has become the face of Israeli cinema having delivered brilliant performances in films like The Band’s Visit and Or. Gett also reveals her growth behind the camera with a much more sophisticated directorial technique, as she and Shlomi tell the story from a very subjective point of view. With their use of the camera and precise shots, they allow Viviane to have the freedom of thought society continues to deny her. A perfectly cast ensemble makes the film a worthy spiritual companion to A Separation and Zodiac, in a way, as they all explore the frustration that comes along with endless, inefficient bureaucratic processes.

During their recent visit to New York City, I talked to Ronit and Shlomi about their collaborations, their unique use of cinematic language and how Gett has rightfully become a sociopolitical sensation in Israel.

The interview is after the jump...    

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Second Opinion - Gett & Israel's Oscar Chances

Anne Marie here with a followup to David's review on Israel's Oscar submission. Gett: The Trial of Viviane Amsalem opens with a lawyer staring at his client sitting just offscreen. The lawyer turns to the judges and begins to plead his client's case: she is incompatible with her husband and wants a divorce.

The scene moves between the three judges, the lawyer, and the woman's husband as they argue this woman's fate, but the camera avoids Viviane as strangers argue over her. When at last the camera cuts to Viviane, (writer/co-director Ronit Elkabetz channeling AFI Fest honoree Sophia Loren's intensity) she seeths in her chair, muted by convention and law. She glances quickly at the camera, and her brief eye contact burns with unvoiced frustration. Considering that her divorce will take almost half a decade to achieve, the frustration will only get more bitter and volcatnic.

As David pointed out, Ronit and her brother/co-director Shlomi have made a social justice film about the absurdities of Israel's archaic, religion-based family law. However, Gett also becomes a study on the harder-to-read nuances of a relationship - Are Viviane and her husband incompaible or abusive? Is he controlling or too lenient? The deceptively simple conceit of trapping the action in the stark courtroom visually emphasizes Viviane's frustration, and allows the motives of everyone who speaks - from Vivianne's hilarious family to her sadly submissive neighbor to her husband and herself. Ronit and Shlomi Elkabetz have created a film that works on every level as social commentary, and absurdist comedy, and character study.

Second Take Grade: A-
Oscar Chances: Though it is Israel's official submission, chances are low. The first two films in Elkabetz's trilogy, To Take A Wife (2004) and 7 Days (2008), were both overlooked by the Academy. At AFI Fest, Gett is currently being overshadowed by star-studded films like Two Days, One Night and buzz -generators Timbuktu and The Tribe. Though audiences that see it are speaking highly of it, Gett's may not have the momentum to land a nomination.

CIFF Foreign Film Oscar Report, Vol. 1: Afghanistan, Italy & Switzerland

Tim here. A week ago today, two things happened: the Academy announced the complete list of submissions for the Best Foreign Language Film race, and the 50th Chicago International Film Festival opened. That's put me in a position to see a lot of those submissions firsthand, and this week and next I'll be sharing my quick thoughts on several of the ones that the Film Experience hasn't otherwise looked at.

AFGHANISTAN: A FEW CUBIC METERS OF LOVE
In a grubby part of Tehran, a population of Afghan refugees ekes out a small living and strives to retain their culture and sense of worth while dodging the police. Against this background, a young Afghan woman (Hasiba Ebrahimi) and an Iranian boy (Saed Soheili) fall in love, only to find their relationship threatened when her father decides to flee Iran. So it's yet another Romeo & Juliet riff, although in this case the unexpected context gives it some freshness, and the film does good work balancing its depiction of the hard life of the refugees in an unfriendly place with the romantic plot. Ebrahimi and Soheili also have excellent, unforced chemistry with each other, making for an especially appealing representation of a stock scenario. It's a little minor and not too daring, but it's awfully moving.

Oscar prospects: Stranger things have happened, though central Asia hasn't done all that well here over the years, and the realist style is a little on the chilly side. I suspect it would have to be one of the films swept in by executive decision, and there are bigger-name titles that are much likelier to receive that boost.

Israeli divorce, Italian essay, and Swiss gays after the jump...

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