Courtesy of Sundance Film Festival
(JTA) – In the wake of Israel’s seemingly miraculous triumph in the Six-Day War in 1967, the country’s victorious soldiers were lionized as heroes.
But in private, even just one week after the conflict, many of them didn’t feel that way. One describes feeling sick to his stomach in battle and collapsing into a trench.
“I wanted to be left alone,” he says. “I didn’t think of the war.”
Another talks about watching an old Arab man evacuated from his house.
“I had an abysmal feeling that I was evil,” the soldier says.
The voices come from tapes made just weeks after the war’s conclusion and now presented, some of them for the first time, in the powerful new documentary “Censored Voices,” which premiered Jan. 24 at the Sundance Film Festival here.
Piece by piece and story by story, they tear apart the heroic narrative of Israel’s great victory in favor of something far messier, more chaotic and more human.
The tapes were made by fellow kibbutzniks Avraham Shapira and the novelist Amos Oz, who were driven by a sense that amid the triumphalism, more ambivalent emotions were not being expressed.
“It was a sadness that could only be felt in the kibbutz because we were living so close to each other,” Shapira recalls in the film.
Traveling from kibbutz to kibbutz with a borrowed reel-to-reel tape recorder, Shapira and Oz convinced fellow veterans to open up about their feelings, their memories and their misgivings from the war. But when they moved to publish what they had gathered, the Israeli government censored 70 percent of the material. Shapira published the remaining 30 percent in his book “The Seventh Day: Soldiers’ Talk about the Six-Day War.”
Now, thanks to the efforts of director Mor Loushy, who convinced Shapira to give her access to the tapes, all of the soldiers’ stories can be heard. Films in Israel can be subject to censorship, but according to producer Hilla Medalia, “We were able to release the film as we wanted it.”
The voices from the tapes are combined to great effect with archival footage, photographs, contemporary news accounts and film of the now-aged veterans to tell the story of the war and its aftermath.
What emerges is a vivid portrait of the war as it was lived by those who fought in it. In the tradition of soldier’s-eye narratives like “A Farewell to Arms” and “The Red Badge of Courage,” the movie allows the soldiers to depict themselves as confused, selfishly afraid, often stupefied by the sight of death and dying, and morally troubled when they encounter the enemy as fellow humans.
There is little doubt that prior to the war, the soldiers saw the build-up of hostile Arab forces on their borders as an existential threat.
“There was a feeling it would be a Holocaust,” one says.
(JTA) — The Sarah Silverman that the world knows and loves is a loudmouthed, foulmouthed, ribald comedian who tramples on the boundaries of social decency with sharp purpose and uproarious glee.
The Sarah Silverman who stars in the domestic drama “I Smile Back,” which premiered at Sundance, is stripped of both bravado and joy. In the movie, which marks Silverman’s first starring dramatic role, she plays Laney, a deeply depressed housewife who veers into self-destructive behavior. She snorts coke in the bathroom, cheats with a friend’s husband while the kids are at school, sneaks vodka on the sly and even masturbates with a teddy bear on the floor next to her sleeping daughter. The portrait of Laney that emerges is intense, raw and disturbing. It is also unmistakably, recognizably Silverman.
At least partial credit for that insight goes to Amy Koppelman, who adapted the screenplay from her own novel of the same name, along with co-screenwriter Paige Dylan. Koppelman didn’t know much of Silverman’s comedy when she heard Silverman on Howard Stern’s radio show talking about childhood depression. Instinctually, Koppelman felt that Silverman would be a perfect match for the novel.
“I felt she would understand what I was trying to say in the book,” said Koppelman at a post-screening Q&A.
Sure enough, Silverman met with Koppelman and agreed to sign up for the movie.
(JTA) – No, the late great writer David Foster Wallace was not Jewish – but the first actor to portray him onscreen is.
Jason Segel, the Jewish actor known for his roles in films such as “Forgetting Sarah Marshall” and “The Five-Year Engagement” as well as the popular TV show “How I Met Your Mother,” plays Wallace alongside fellow Jewish thespian Jesse Eisenberg in “The End of the Tour,” which debuted at the Sundance Film Festival this weekend.
“The End of the Tour” is an adaptation of the book “Although Of Course You End Up Becoming Yourself,” author David Lipsky’s account of a five-day road trip he took with Wallace on a book tour in 1996, just as the publication of “Infinite Jest” was turning Wallace into a literary rock star.
Sundance Film Festival
(JTA) — Although it’s now well entrenched in the Hollywood ecosystem, the Sundance Film Festival remains a venue for some of the film industry’s more offbeat voices and still largely unknown talent — and a place for boldfaced names to redefine themselves.
Jewish subjects and artists again will figure prominently in this year’s festival, which runs from Jan. 22 to Feb. 1 in Park City, Utah. Here are the films to look for at Sundance:
Just after the Six-Day War in 1967, Amos Oz and fellow kibbutzniks recorded interviews with returning soldiers about their experiences during the fighting. The interviews were largely censored by the Israeli military. In the nearly half-century since, Oz became one of the Jewish state’s most renowned authors of fiction and nonfiction, as well as a prominent opponent of Israel’s presence in the West Bank and Gaza Strip. In “Censored Voices,” Israeli director Mor Loushy revisits the now declassified recordings and the lingering aftereffects of war.
Pulitzer Prize-winning food critic Jonathan Gold is an icon in Los Angeles: His recommendations are treated with reverence by foodies, and his reviews can change an obscure noodle shop or greasy spoon into a culinary hotspot. “City of Gold,” directed by Laura Gabbert, follows Gold’s perambulations through the city’s large and diverse food scene, devoting equal care to rickety food trucks and pricey haute cuisine. As befits a man who by his own account received much of his Jewish and culinary training at the city’s delis, Gold is as heimische as his palate is ruthlessly discerning.
(Reuters) — A year after Internet activist Aaron Swartz committed suicide, a new documentary brings to light the young computer prodigy’s earnest battle to bring online freedom of access to information for everyone.
“The Internet’s Own Boy: The Story of Aaron Swartz” premiered at the Sundance Film Festival on Monday and director Brian Knappenberger was joined by Swartz’s father Robert and two brothers, Noah and Ben, all of whom received a standing ovation.
“It’s unbelievably hard for us, but Aaron is dead, there’s nothing we can do about that,” Swartz’s father told the audience, saying he hoped the film would raise awareness of Aaron’s activism and encourage others to fight on his behalf.
Swartz died aged 26 in his Brooklyn, New York apartment on January 11, 2013, after facing felony charges brought by a federal grand jury that included theft, wire fraud and computer fraud.
The federal indictment said Swartz, a fellow at Harvard University, had downloaded millions of articles and journals from digital archive JSTOR through the Massachusetts Institute of Technology servers. Swartz, who pleaded not guilty to all counts, faced 35 years in prison and a $1 million fine if convicted.
In the film, which is a contender in Sundance’s U.S. documentary competition, Knappenberger focuses on Swartz’s intellect and growing political ambitions, with interviews that shed insight into his personality from Swartz’s family, friends and colleagues.
(JTA) — “Wish I Was Here,” Zach Braff’s Kickstarter-funded film, premiered at the Sundance Film Festival Saturday night. Fans eagerly awaiting the “Garden State” follow up—especially the 46,520 who helped pay for it to be made—will be glad to know it was warmly received. The screening ended with a standing ovation, certain critics had nice things to say, and most importantly, the movie was ultimately bought by Focus Features.
Also notable: It sounds pretty Jew-y. In “Wish I Was Here,” Braff makes his directorial debut and stars as Aiden Bloom, a struggling actor living in suburban LA with his wife (Kate Hudson) and their two kids. Aiden is forced to pull the children from Jewish day school after his dad, played Mandy Patinkin, announces he is suffering from cancer and will no longer be able to pay tuition. Unwilling to send them to the local public school, Aiden decides to home school. This new role leads Aiden on a spiritual journey, complete with a visit to a rabbi.
Braff, who wrote the script with his brother Adam, explains that the pair drew inspiration from their childhood. “It was kind of a combination of both of our lives,” he said, according to The Hollywood Reporter. “We did have a very strong conservative/Orthodox upbringing … Themes are in there around our shared experiences but it’s mostly fiction.”
We called it! Both feature-length films premiering at Sundance we wrote about last week have won awards at the prestigious film festival.
First-time director Jill Soloway won the Directing Award in the U.S. Dramatic Competition for her film, “Afternoon Delight,” about what happens when a frustrated Jewish housewife living in the hip Silver Lake neighborhood of Los Angeles hires a stripper to be her child’s nanny.
Soloway, who is an Emmy-nominated television writer, told the Forward how important it was for her to try her hand at directing. “I could have remained a well respected writer who didn’t get anything of my own made,” she said. “But I stopped waiting for directing opportunities to come my way, and I built that reality myself.”
The “Afternoon Delight” production team is doubly proud, with Kathryn Hahn, who plays the film’s protagonist, Rachel, putting in one of the 10 best performances at Sundance, according to New York Magazine.
While “An Inconvenient Truth” had Al Gore expounding on the causes and effects of global warming, this new movie has former labor secretary and current UC Berkeley professor Robert Reich explaining the global economic forces affecting our lives and arguing that widening income inequality is a great — if not, the greatest — threat to our economy and democracy.
Sebastian Dungan, one of the producers of “Inequality For All,” has no problem with the comparison between the two films. In fact, he told The Arty Semite in a recent phone interview that the climate change game-changer served as an inspiration for him, his producing partner Jen Chaiken and the film’s director, Jacob Kornbluth. “’An Inconvenient Truth’ has a polar bear, and our film has middle class families,” Dungan said.
With so many great films premiering at the Sundance Film Festival this week, it’s impossible to focus on them all. But it would be shame to miss “What Do We Have In Our Pockets,” a whimsical, endearing animated four-minute short by Los Angeles-based filmmaker Goran Dukic and based on a short story by Israeli writer Etgar Keret.
“What Do We Have In Our Pockets,” is from Keret’s “Suddenly, a Knock on the Door” collection, published in English translation in 2012. It’s about how the inordinately large number of items a young man carries around in his pockets leads to a love story. “Be prepared,” is basically the narrator’s motto and the take-away lesson. It’s also a fun testament to the virtues of clutter.
The actors are director-screenwriter Azazel Jacobs and Diaz Jacobs, and the visual style is part hipster, part children’s “I Spy” books. See for yourself:
“I could have remained a well respected writer who didn’t get anything of my own made,” said Jill Soloway, the Emmy-nominated writer behind successful television shows like HBO’s “Six Feet Under” and Showtime’s “United States of Tara.” “But I stopped waiting for directing opportunities to come my way, and I built that reality myself.”
Soloway spoke to The Arty Semite as she prepared to attend the premiere of her first feature film, “Afternoon Delight,” at the Sundance Film Festival, where it is part of the U.S. Dramatic Competition. Soloway wrote and directed the dark comedy, about Rachel, a 30-something-year-old Jewish woman in the affluent Silver Lake area of Los Angeles, who responds to her ennui by visiting a strip club and impulsively hiring a sex worker to be her child’s nanny. The film stars Kathryn Hahn (as Rachel), Juno Temple (as McKenna, the stripper), Josh Radnor and Jane Lynch.
“The housewife thinks she’s saving someone, but she ends up being saved,” Soloway revealed. She said her aim was to take the viewer on a “stomach-dropping roller coaster of emotions” with this “pretty dirty, kind of shocking, and very funny” film.
What started out as a second year film project at Tel Aviv University turned into a screening at the 2012 Sundance Film Festival in Park City, Utah. “Barbie Blues,” one of four Israeli films at Sundance, was included in the festival’s new Short Films Program this year. First time filmmaker, Adi Kutner, 25, produced the film in three days of shooting in a Tel Aviv suburb on a budget of only $800.
“Barbie Blues,” is a coming-of-age film about a bored teenager, Mika (played by Meyrav Feldman), who finds a mysterious dead bird floating in her backyard pool. The plot focuses on her interaction with a much older neighbor, Gershon. Dvir Benedek, who plays Gershon in the film, is a household name in Israel, best known for his role as Steve Carell’s character in “HaMisrad,” the Israeli version of “The Office.”
Gabrielle Birkner watches Yossi Madmoni’s “Restoration,” the only Israeli selection at the Sundance Film Festival.
Pianist András Schiff talks to the Forward about growing anti-Semitism in his native Hungary.
Gordon Haber reflects on integration and re-segregation in his native Los Angeles.
Eileen Reynolds goes to see Yoav Gal’s biblically inspired space-age video opera “Mosheh.”
David Biale reads through the new crop of second-generation Holocaust memoirs.
Two Israeli films, “Restoration” by Yossi Madmony and “Zero Motivation” by Talya Lavie, picked up prizes at Sundance.
The Egyptian Museum was hit by looters, but it could have been worse.
Israeli filmmakers have received death threats over their film on the Gaza war.
Ian McEwan has defended his decision to accept the Jerusalem Prize, telling his critics, “I’m for finding out for myself, and for dialogue, engagement, and looking of ways in which literature, especially fiction, with its impulse to enter other minds, can reach across political divides.”
Filmmaker, Internet pioneer and Webby Awards founder Tiffany Shlain believes that “when you speak your truth, you speak the universal.” This seems to be the case, given the buzz surrounding her new, partially autobiographical film, which premiered January 21 at the Sundance Film Festival.
Best known among American Jews for ““The Tribe,” a 2006 short film that explores American Jewish identity through the history of the Barbie doll, Shlain, 40, was in Park City, Utah for the first public screenings of her first feature length documentary, “Connected: An Autoblogography About Love, Death and Technology.” The film, which explores concepts of interconnectedness and interdependence, is part visual collage and part tribute to her late father, surgeon and author Dr. Leonard Shlain. Shlain’s short film “Yelp,” a riff on Allen Ginsberg’s classic 1956 poem “Howl,” was also selected for Sundance this year. Shlain took time out of her schedule to talk to The Arty Semite about her methods and goals as a filmmaker.
Renee Ghert-Zand: Your film is titled “Connected: An Autoblogography About Love, Death and Technology,” but you had originally planned to call it “Connected: A Declaration of Interdependence.” Why did you change it?
There are upwards of 180,000 women incarcerated in U.S prisons today. Of those, an estimated 80% are victims of rape, assault, incest, and other forms of sexual and domestic violence. Considering what a closeted problem this sort of abuse is in many communities, it wouldn’t be shocking if the true percentage were actually higher. Responding to that overwhelming statistic, California passed a law in 2002 to allow the reopening of cases of convicted domestic abuse victims, with the circumstances of their suffering allowable as evidence. The California law was the first, and is still the only, one of its kind in the United States.
Thus the jumping-off point for “Crime After Crime,” the surprisingly intimate documentary from director Yoav Potash, screening January 23 to 29 at the Sundance Film Festival and on January 27 at the New York Jewish Film Festival. The film follows the case of Deborah Peagler, an inmate serving a life sentence for conspiracy to murder her boyfriend in 1983.
In May 1942, around three months before some 300,000 Jews were sent from the Warsaw Ghetto to Treblinka, Nazi filmmakers shot 62 minutes of propaganda footage intended to illustrate the inhumanity of their victims. Staged scenes showed rich Jews living in luxurious indifference to the poverty and death around them, purportedly demonstrating their callousness, even toward their own people.
Chances are you’ve seen this footage, though not in its entirety. One of the only film documents to emerge from the Holocaust, bits and pieces of it have been used in nearly every Holocaust documentary ever made. But only recently has a filmmaker undertaken to examine the footage as a whole, as well as the circumstances in which it was produced.