I remember a certain Tuesday, the morning of 18/6/02 to be exact. I was dozed off, trying to convince myself to get out of bed when a horrific explosion was heard. I went to the kitchen where I have a view of several neighborhoods in the southern Jerusalem and saw a pillar of smoke rising from a distant point, the sight of the smoke was followed a minute later by the waling of sirens. I remember rushing to my bedroom, taking out my binoculars, racing back to the kitchen and spotting the image of a glass shattered bus. The bus was still near the pick up station where a terrorist boarded on it and with a single click on a TNT device, murdered 25 passengers, many of whom were on their way to school. The wife of a good friend of mine, sat on the bus at the back row, a seemingly arbitrary and meaningless decision that saved her life.
I'm sure that every Israeli has at least one terror-related memory he wishes he never would have had and it was only a matter of time before someone made a film about it. As it turned out, the movie was about to become a repressed memory of its own.
The film is about a play-write on a dry run, Haim Buzaglo (portrayed by, hmmm, Haim Buzaglo who also wrote and directed the film) that spends the better part of his day conducting staring contests with his blank word processor page. In the meantime, his girlfriend, a field reporter for the Israeli commercial channel, decides to make a piece about a debt ridden ex-army officer. Buzaglo, bored and a bit paranoid due what is medically known as the "what on earth this hot babe is dating me" syndrome, asks a private eye to conduct a stakeout on his girlfriend.
As the detective progresses in his investigation, his observations are permeating into the play and later on, to the lives of its actors. In the meantime, the play metamorphoses from a comic play into an indictment against the aloofness of the Israeli society. As for the movie, well, the movie becomes an exercise in frenzy editing, ensconced in its petty cardboard characters and unreliable dialogs while drifting miles away from the subject it was supposed to deal with in the first place.
When I say "cardboard characters" I refer to the characters that under the writer/director's obsession for a "meaningful" film, were devoid of any genuine dialogs and any shred of reliability. I won't elaborate too much about it. Suffice to say that I'm sure that homeless barefoot male prostitutes rarely go the theater. With the intention to see a play, that is.
This movie, according to Haim Buzaglo himself is the first part of a current agenda trilogy. I sincerely hope that the other two films will be derived from the experiences like the one I wrote about in the beginning of my review as opposed to the secluded world of characters that are anything but existent and a plot that is anything but compelling.
4 out of 10 in my FilmOmeter.
P.S. This movie was a landmark in austerity. It was shot in ten days, all the cast worked for free and the entire cost of the film was about 12,000$ (no, I didn't omit a zero or two, twelve thousand dollars). Makes you wonder why it took 34,000$ to complete Blair witch project.
I'm sure that every Israeli has at least one terror-related memory he wishes he never would have had and it was only a matter of time before someone made a film about it. As it turned out, the movie was about to become a repressed memory of its own.
The film is about a play-write on a dry run, Haim Buzaglo (portrayed by, hmmm, Haim Buzaglo who also wrote and directed the film) that spends the better part of his day conducting staring contests with his blank word processor page. In the meantime, his girlfriend, a field reporter for the Israeli commercial channel, decides to make a piece about a debt ridden ex-army officer. Buzaglo, bored and a bit paranoid due what is medically known as the "what on earth this hot babe is dating me" syndrome, asks a private eye to conduct a stakeout on his girlfriend.
As the detective progresses in his investigation, his observations are permeating into the play and later on, to the lives of its actors. In the meantime, the play metamorphoses from a comic play into an indictment against the aloofness of the Israeli society. As for the movie, well, the movie becomes an exercise in frenzy editing, ensconced in its petty cardboard characters and unreliable dialogs while drifting miles away from the subject it was supposed to deal with in the first place.
When I say "cardboard characters" I refer to the characters that under the writer/director's obsession for a "meaningful" film, were devoid of any genuine dialogs and any shred of reliability. I won't elaborate too much about it. Suffice to say that I'm sure that homeless barefoot male prostitutes rarely go the theater. With the intention to see a play, that is.
This movie, according to Haim Buzaglo himself is the first part of a current agenda trilogy. I sincerely hope that the other two films will be derived from the experiences like the one I wrote about in the beginning of my review as opposed to the secluded world of characters that are anything but existent and a plot that is anything but compelling.
4 out of 10 in my FilmOmeter.
P.S. This movie was a landmark in austerity. It was shot in ten days, all the cast worked for free and the entire cost of the film was about 12,000$ (no, I didn't omit a zero or two, twelve thousand dollars). Makes you wonder why it took 34,000$ to complete Blair witch project.