Independence Film Praised for Visuals, Criticized for Emotional Depth

Director Moshe Rosenthal's second film, "Independence," set to premiere in Israeli cinemas, is garnering attention for its striking visual style, reminiscent of his debut "Karaoke." Cinematographer Ziv Berkovich collaborates with Rosenthal to create impressive, original artistic moments, though the film, like "Karaoke," is noted for a significant emotional void.

"Independence" has achieved considerable acclaim, premiering at the Sundance Film Festival, opening the Jerusalem Film Festival, and leading the Ophir Awards with a record 16 nominations, including for Best Film, Directing, and Screenplay. It also secured six acting nominations. Despite its talent, emotional pain, and charisma, critics suggest the film leaves viewers questioning its lasting impact.

The film is set in Holon in 1987, focusing on Boaz, the youngest son in a family facing financial ruin. As Boaz prepares for his bar mitzvah, his father's impending bankruptcy and subsequent work as a taxi driver lead to a devastating family secret. Years later, an adult Boaz, portrayed by Idan Takou, grapples with guilt from the past, attempting to rectify his actions. This journey includes a nighttime visit to Independence Garden in the 1990s, depicted as a place of transgressions and dangers.

Rosenthal explores themes of Oedipal conflict and symbolic patricide, drawing parallels to Greek tragedy. However, these elements are presented as unresolved emotional trauma rather than dramatic or comedic resolutions. The reviewer notes recurring motifs in Rosenthal's work, including haunting memories and middle-aged men confronting their sexuality, suggesting a personal, perhaps compulsive, exploration of past events.

While the 1987 setting, with its period radio hits and Rosenthal's distinct visual portrayal of Israel, is considered the film's strongest aspect, the 1990s framing narrative is seen as weakening the overall impact. Despite this, the framing provides a poignant closing scene for Boaz and his father. The film is compared visually to the works of Amos Guttman and Pedro Almodóvar, blending elements of "Touched" and "All About My Mother."