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Arts & Leisure: Film

What does Oscar know?

‘Footnote’ is a film to watch over and again

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Footnote defined: a piece of information, sometimes an anecdote, that is not necessarily verifiable, sometimes even outrageous, or silly, often only remotely relevant to the main text, but at the same time it is just too irresistible and juicy to leave out entirely; a Talmud researcher to filmmaker Joseph Cedar.

Just like a page of Talmud, Joseph Cedar’s new Israeli film “Footnote” is layered with various references and underlying footnotes. If you understand them, then it is just that much more fun and challenging, and a reason to watch the film a second or third time to delve even deeper. If you do not notice these visual and aural references, it matters not, because you will still find this a powerful film and quite the masterpiece. About how many films today can one say that? Joseph Cedar has hit a home run on this, his fourth feature film, even though he failed a second time to take home an Oscar.

 
 

Exclusive pre-Oscar interviews

Joseph Cedar: Searching for a non-existent harmonious middle

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Award-winning writer/director Joseph Cedar discusses His Oscar-nominated “Footnote” with The Jewish Standard’s film critic, Eric Goldman. The film is nominated for “Best Foreign Language Film” at Sunday’s Academy Awards. It won the Ophir Award in Israel for “Best Picture” and “Best Director,” and took “Best Screenplay” at the Cannes Film Festival.

“Footnote” tells the tale of a great rivalry between a father and son. Eliezer and Uriel Shkolnik are eccentric professors who dedicated their lives to their work in talmudic studies. The father, Eliezer, is a stubborn purist who fears the establishment and has never been recognized for his work. His son, Uriel, is an up-and-coming star in the field, who appears to feed on accolades, endlessly seeking recognition.

 
 

Exclusive pre-Oscar interviews

Agnieszka Holland: Showing audiences the complexities of hate

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Award-winning Polish-born director Agnieszka Holland discusses her Oscar-nominated “In Darkness” in this interview with The Jewish Standard film critic Eric Goldman. The film is nominated for “Best Foreign Language Film” at this year’s Academy Awards. It is one of two nominees with a Jewish theme.

Holland has tackled Jewish themes in many of her films. She wrote Andrzej Wajda’s film, “Korczak,” about Janusz Korczak, the celebrated educator and author of children’s books who was murdered by the Nazis.

Her films include “Angry Harvest” and “Europa, Europa,” which was nominated for a best screenplay Oscar. Holland’s family’s personal story could be a movie itself. She currently works largely in Hollywood.

“In Darkness” is a dramatization of the rescue in 1943 of Jews by Leopold Socha in the Lvov ghetto and their subsequent survival in the sewers where they hid. It is a powerful story, with superb performances.

 
 

YU family film fest

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Yeshiva University will present “A Lens on Israel: A Society through its Cinema,” the Ring Family Film Festival, from Feb. 14 to 23. The four-part event will be supplemented by lectures, workshops, and open forums with leading Israeli actors, writers, producers, and directors. Capping the event is the Feb. 16 screening of “Footnote” — the Oscar-nominated Joseph Cedar film that won “Best Screenplay” at Cannes, and “Best Picture” at the Israeli Ophir Awards. It is among the five contenders for “Best Foreign Language Film” at this year’s Academy Awards. Following the screening, Cedar and actor Lior Ashkenazi will take questions from the audience.

The free festival opens on Feb. 14 with the screening of the internationally acclaimed drama, “Restoration.” The 2008 film “For My Father” will be shown on Feb. 15, and the festival concludes with “Three Mothers” on Feb. 23. Visit www.yu.edu/film-festival.

 
 

A profoundly personal look at Jewish divorce

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Nobody knew that when Ma’aleh School of Television, Film and the Arts student Pazit Lichtman was working on her 2007 film “Willingly” about a religious couple getting divorced, she herself was struggling to keep her marriage, just a year old, from breaking apart.

The film’s Hebrew title, “Harei aht,” “behold, you are,” begin the sentences a Jewish man says to his wife under the chuppah at the time of their marriage and before the Rabbinical Court when presenting her with a divorce. Both acts must be done out of each party’s own free will; hence, the English title “Willingly.”

 
 

Can Cedar beget gold?

Israeli director gives Israel another shot at an Oscar

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LOS ANGELES – Joseph Cedar is on a pretty good run: The Israeli director has made four movies in his 11-year career, and the first three have represented his country at the Academy Awards for best foreign-language film.

Before this week began, one made the cut of five finalists, but a Cedar film has yet to capture a golden statuette. In fact, no Israeli film has ever won an Oscar.

Cedar and many of his countrymen are hoping that will change with his fourth entry, “Footnote,” which was among the five Best Foreign Language Film nominees announced on Tuesday in advance of the 84th Annual Academy Awards.

 
 

Film

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To mark U.N. Holocaust Remembrance Day, the Kaplen JCC on the Palisades in Tenafly hosts the New Jersey screening premiere of “Carrying the Light,” a new film directed by Guy Natanel, on Thursday, Jan. 26 at 8 p.m. In 2010, Rabbi Jonathan Wittenberg of the London Masorti community left his home in Finchley to embark on a symbolic and spiritual journey, traveling from Germany to England on foot with his dog. The unconventional rabbi reflects on Jewish and humanistic values in the 21st century. Sponsored by the Martin Perlman & Jo-Ann Hassan Holocaust Education Institute Endowment Fund. (201) 408-1458 or www.jccotp.org.

 
 

Year of the documentaries

Non-fiction among the best bets at 21st annual film festival

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It is time again to bundle up and go out to explore the world of Jewish cinema. The New York Jewish Film Festival is now under way at Lincoln Center. This year, it offers 35 films from 11 countries, many never again
to be seen in our area. The festival continues through Jan. 26.

Over the years, most audiences have been more interested in the narrative films that have been the hallmark of this festival, as have I. Of late, however, we are seeing more — and better — Jewish film documentaries. This year, I am more impressed by them than the fiction films. Most are significant and worthy of consideration.

Of course, a documentary film may not draw a viewer in the way a “regular” theatrical work will do. There are no known actors, no magnificent sunsets, no plot twists, no dramatic climaxes, no surprise endings. Nevertheless, these films are worth seeing.

 
 
 
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Sarah’s Key’ unlocks painful memories of the Shoah

Film tells of French collaboration with the Nazis

Sixty-nine years ago this month, nearly 13,000 Jews were rounded up by French gendarmes and taken to the Velodrome d’hiver sports arena, not far from the Eiffel Tower in Paris. They were held there for days without food, water, or sanitation facilities, and then were sent to Auschwitz-Birkenau. French policemen, not Nazi soldiers, carried out the operation — and what is even more startling is that, for 50 years, most French felt no responsibility for the action.

The “Vel’ d’hiv’ roundup,” as it was called, became a symbol of national guilt and outrage. Twenty-five years after the liberation of Paris, in 1969, French Jewish filmmaker Marcel Ophuls took aim at the French nation in his provocative four-and-a-half-hour documentary “The Sorrow and The Pity,” where he dealt with the question of collaboration during World War II. The film was immediately banned by a government that was far from ready to tackle the question of its own culpability in the war.

 

‘Bride Flight: A powerful story about friendship and history’

For the last few decades, filmmakers have been dramatizing aspects of the Holocaust. Initially, there was strong reaction by some survivors and Holocaust historians, most notably Elie Wiesel, who claimed that these dramas were “trivializations” and that no narrative film could capture the horrors that were endured. The debate has softened these past years as there is realization and growing evidence across the globe that these television and film dramas have provided an incredible teaching tool and have effected a better understanding of the Shoah. In the Netherlands, filmmaker Paul Verhoeven rewrote his own film history when he made his 2006 film “Black Book.” It detailed Dutch collaboration with the Nazis three decades after his “Soldiers of Orange” glorified the work of the Dutch underground.

 

‘See, enjoy, and be educated’ at the Israel Film Festival

As we celebrate Israel’s 63rd birthday, we marvel at the creation of a Jewish state in our lifetime and how its very existence has affected our lives as Jews here in America. The great Zionist philosophers of a century ago imagined a state that could affect Jewish life around the world, as it clearly has in such areas as religion and culture. Yet, while Israeli music and culture dominated American Jewish life for decades, Israeli cinema here was relegated to replays of such comedies as Ephraim Kishon’s “Sallah” and “The Big Dig: The Blaumilch Canal.” Serious students of cinema paid little attention to the efforts of the dozen or so creative talents who used the motion picture to tell the dramatic story of a new state’s emergence. The only place it seemed that one could see an Israeli film was at a 16mm screening in the basement of your synagogue.

 

 

 
 
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