Foxtrot (15.)
Directed by Samuel Maoz.
Starring Lior Ashkenazi, Sarah Adler, Yonathon Shiray, Shira Haas, Dekel Adin, Yehuda Almagor. In Hebrew with subtitles. 113 mins.
The Foxtrot is a dance of four movements where people end up exactly where they started. Foxtrot the film is a study in boredom and grief in three parts in which the lives of the people involved will be permanently affected. In the first part, a father receives two pieces of news about his son who is serving in the Israeli military. One of these is that he is has been killed in action; the other is an even bigger shock. In the second part, we see the son and the rest of his four-man squad manning a sodden checkpoint in the middle of nowhere. The third ties the two together.
Maoz previous film, Lebanon, was set entirely inside a tank. This time he gets to move about a bit but mostly keeps his vision contained to three locations: the father's apartment, the checkpoint and the tilting container the squad call home. It mixes dry deadpan humour and high emotion to captures two contrasting emotions: the shattering effrontery of grief and the absurd tedium of military routine.
Directed by Samuel Maoz.
Starring Lior Ashkenazi, Sarah Adler, Yonathon Shiray, Shira Haas, Dekel Adin, Yehuda Almagor. In Hebrew with subtitles. 113 mins.
The Foxtrot is a dance of four movements where people end up exactly where they started. Foxtrot the film is a study in boredom and grief in three parts in which the lives of the people involved will be permanently affected. In the first part, a father receives two pieces of news about his son who is serving in the Israeli military. One of these is that he is has been killed in action; the other is an even bigger shock. In the second part, we see the son and the rest of his four-man squad manning a sodden checkpoint in the middle of nowhere. The third ties the two together.
Maoz previous film, Lebanon, was set entirely inside a tank. This time he gets to move about a bit but mostly keeps his vision contained to three locations: the father's apartment, the checkpoint and the tilting container the squad call home. It mixes dry deadpan humour and high emotion to captures two contrasting emotions: the shattering effrontery of grief and the absurd tedium of military routine.
