Danny Boyle's 'INK' Praised for Style, Criticized for Banality; Israeli Film 'Veahavta' Reviewed

The Haifa Film Festival concluded with a review of Danny Boyle's latest film, "INK," which chronicles the rise of Rupert Murdoch and Larry Lamb in transforming Britain's "The Sun" newspaper into a highly influential tabloid. While the script by James Graham may have intended a straightforward account, Boyle's signature hyperactive and stylized direction, characterized by unusual camera angles, rapid editing, and bold colors, injects a dynamic, almost gangster-thriller aesthetic into the narrative. The film's visual style effectively mirrors the early days of modern tabloid journalism. Despite the engaging direction and strong performances from the cast, including Harris Dickinson and Claire Foy, the reviewer found the underlying story to be cliché, focusing on outsiders challenging the establishment by catering to public interest in gossip, sex, and violence. The film's explicit pronouncements on the rise of populism and the influence of tabloid journalism on global media, including Fox News and Israeli Channel 14, were deemed overly direct and a step too far. Ultimately, "INK" is described as the most entertaining film seen at the festival, though significantly flawed.

The festival's Israeli competition included a screening of Nitzan Giladi's "Veahavta" (You Shall Love), a drama exploring the struggles of a young, religious Jerusalem couple, Naomi and Neria, who dream of having a child. The film delves into Neria's internal conflict with his attraction to men and his participation in painful conversion therapy, a path Naomi knows he cannot truly change. The reviewer found the film to be a melancholic, realistic drama that, while containing beautiful moments and strong performances from Yael Elkana and Michael Moshonov, felt underdeveloped and reminiscent of early 2000s Israeli television. The narrative choices, casting, and aesthetic decisions were criticized for lacking subtlety and refinement. The review also notes the recent passing of director Nitzan Giladi from cancer, two months prior to the article's publication, and expresses a desire to review the film objectively as per Giladi's own wishes, rather than as a memorial.