Our Loves" Film About October 7 Misses the Mark

Director Avi Nesher's new film, "Our Loves," is described as the most significant narrative film to date about the October 7th events, aiming to explore healing and resilience rather than collective trauma. The film presents three interconnected storylines, all beginning the day before the Hamas attack. One plot follows a father, played by Shalom Michaelashvili, whose divorce has estranged him from his daughter living in the Gaza envelope. Another centers on a police officer, portrayed by Magi Azarzar, who is hiding her girlfriend from her mother while preparing for a family meal. A third story involves a religious young woman, played by Daniel Gimbel, who spontaneously decides to attend the Nova music festival after a breakup, where she connects with a drug dealer.

The narrative then shifts to the aftermath of the attack, following the characters' experiences and introducing supporting roles, including a police officer played by Yaniv Biton who must step up to command and a group of conscripts, including Amir Banai and Elad Turgeman, caught in the fighting. However, the film is criticized for its weak script, with underdeveloped characters and unnatural dialogue that often explicitly states information for the audience rather than allowing for subtext. The cinematic execution is also deemed lacking, with a static camera and uninspired editing that fail to capture the emotional weight of the events, even in harrowing moments like the sunrise over the Nova festival or a woman being abducted on a motorcycle.

Nesher, known for his ability to capture the Israeli zeitgeist, intended the film to serve as a microcosm of Israeli society, encompassing diverse characters from secular and religious backgrounds, Ashkenazi and Mizrahi Jews, combat soldiers and support staff, and LGBTQ+ individuals. The film's title, "Our Loves," and its focus on love stories are meant to convey a message of hope and revival. Despite these intentions, the reviewer finds the stories unbelievable due to heavy-handed writing and direction, which also impacts the performances. Only Gimbel and Michaelashvili are highlighted as emerging successfully from the narrative, along with the conscripts who are seen as simply soldiers rather than symbolic representations.

The reviewer expresses deep frustration, viewing the film's microcosm as a misrepresentation of contemporary Israeli society. He argues that Israel has not moved towards healing since October 7th but rather towards internal division and animosity, citing instances of indifference or blame directed at victims. The film's attempt at healing, he concludes, fails to acknowledge these deeper societal symptoms.