As any electronic or hip-hop artist will tell you, one of the most important aspects of making music is capturing the right sample. Not just any sample, but something that you can rightfully call your own.
It is difficult to categorize Ari Folman ’s extraordinary film Waltz with Bashir: a cinematic autobiography, a war documentary, a meditation on trauma and memory, a hybrid of reality and fiction, or an acid-like cinematic trip. Every category equally applies.
Whether it be in the US, Europe, or Israel, filmmakers are demonstrating a renewed interest in World War II, specifically the Jewish Holocaust. Stephen Daldry’s The Reader, starring Academy Award winner Kate Winslet, Adam Resurrected directed by Paul Schrader, Boaz Yakin’s Death in Love, Amos Gitai’s Later, starring Jeanne Moreau ,and Uri Barabash’s Spring 1941 are perhaps the best examples. The question is why? What is spurring a renewal of cinematographic interest in the Shoah at this point in time?
In his film Voices from El-Sayed, Oded Adomi Leshem tackles the often-neglected issue of Israel’s unrecognized Bedouin villages. Contrary to stereotype, Israeli Bedouins lead a sedentary, non-nomadic life. 170,000 Bedouins reside in the Negev Desert, in the south of Israel, in some 46 villages and small towns. It is rarely noted, however, that between 40% and 50% live in one of 36 unrecognized settlements.
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