[CRITICAL] TSILI

The twenty first minutes of Tsili is looking more like a recovery, missed The wild child by François Truffaut as film typically Amos Gitai. A young girl still silent and without identity, strolls in a forest battered by high winds, ripping up mushrooms for food. Close up camera on his jaws working. Shelling in the distance, a plane that doesn’t exist and that it was suggested by a lovely look out spot. Behind me, at rank ten or eleven of the hall, a spectator comes to dive in the arms of Morpheus and inspires deeply. And this is just the beginning…

Suffering, oh the suffering, that this new film by the israeli director, however, so great, directing his trio of actresses in Free Zone in 2005, or by staging work that is more directly political. We eventually learn that the girl is named Tsili, we understand that the Nais were probably exterminated his family, in the Ukraine, caught between two fires of where the jewish community is torn. At the meeting, Marek (Adam Tsekhman), hiding him as to the barbarism, Tsili (played by two actresses, for more spice, Sarah Adler and Meshi Olinki) remains prostrate, around the nest of branches that it has earned. When it opens, it is in order to know a fate even more terrible than hunger. Even his companions in misfortune the brutalize, the poor orphan. Victim one day…

Tsili is not a kid who wanders in the woods, this is a filmmaker who wanders in search of an idea. It is never easy to adapt a novel. But we pet say that Gitai has in the present case widely and clearly failed. Clichés, clichés, slow and false contemplation, photography not even original, the actors away from the account. We talk about camps, we speak of Palestine, we speak German and yiddish. One has the impression that the vein is depleted, that person is no longer able to speak of the Shoah in ways that would be unheard of, never seen. Even the music disappoints, played the violin, a theme haunting and grabs you by the ears for the umpteenth listening. All of the effects are useless, the guy in the background is still sleeping.

“Tsili is not a kid who wanders in the woods, this is a filmmaker who wanders in search of an idea.”

We will be relieved of the length is relatively modest. It could be worse. To 64 years of age, he should certainly be that’Amos Gitai found a voice, or a way, personal, that he is reconciled with his favourite themes, in a work which would be completely. But after thirty-three films, it is understandable that it was said roughly what we had on the heart (unless he is calling Woody Allen, but this is the exception that proves the rule). Next project, a fiction around the last days of prime minister Yitzhak Rabin, who was assassinated in Tel Aviv by an extremist jew in 1995, in retaliation for the signing of the Oslo Accords, which created thepalestinian Authority. Tantalizing and selected at the Mostra of Venice 2015. An opportunity, why not, to find a filmmaker more gifted in a better shape.

THE OTHER OUTPUTS OF THE AUGUST 12, 2015