Israel
S. Asher Gelman’s script opens as a rare, bracing political drama before collapsing into conventional family melodrama.
Palestinian scholar Lelia Farsakh reflects on a life shaped by displacement, her father’s legacy, and the political and personal stakes behind her emerging memoir.
Each month, our arts critics — music, book, theater, dance, television, film, and visual arts — fire off a few brief reviews.
Cinema at its best is a a place where seemingly irresolvable conflicts can find, if not resolution, then some common ground.
The plot of The Red Balcony ticks along briskly. Jonathan Wilson is a gifted narrator and scene-maker.
With Tantura, brimming with evidence that will now be hard to suppress, director Alon Schwarz may have won an important battle in the war of conflicting narratives about Israel’s war of independence.
“Everything about the Holocaust already seems so thoroughly unreal, as if it no longer belongs to the experience of our generation, but to mythology…”
Via Dolorosa would have been more effective if it had taken the form of a travel essay rather than a performance piece.
It took me until I was nearly done with The Betrayers to step back and realize that one reason I found it so absorbing is that alienation plays no part.
There’s room to wonder if Vladmir Jabotinsky would have accepted Menachem Begin, Ariel Sharon and Benjamin Netanyahu as his legitimate Zionist heirs.
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