Fair Play [2014]

MPAA (UR would be R)  ČervenýKoberec.cz (3 1/2 Stars)  iDnes.cz (3 1/2 Stars)  Fr. Dennis (4 Stars)

IMDb listing
CSFD.cz listing*
FDB.cz listing*

CineEuropa (M. Kudláč) review

ČervenýKoberec.cz (J. Kábrt) review*
iDnes.cz (M. Spáčilová) review*
Respekt.cz (K. Fila) review*

Variety (A. Simon) review

Lidovky.cz (H. Petrželková) interview with director*


Fair Play [2014] [IMDb] [CSFD]* [FDB]* (directed and screenplay cowritten by Andrea Sedláčková [IMDb] [CSFD]* [FDB]* along with Irena Hejdová [IMDb] [CSFD]* [FDB]*) is a Czech, Slovak and GERMAN co-production that played recently at the 2014 (50th Annual) Chicago International Film Festival.

The film, a historical drama, is about a fictionalized 1980s (Communist Era) Czechoslovakian athlete, Anna (played by Judit Bárdos [IMDb] [CSFD]* [FDB]*) who, along with her teammates is doped with a performance enhancing steroid-based cocktail, in Czech called "Stromba," at least _initially_ without her/their knowledge, to thus "render greater glory" to the then Communist System in the run-up to the 1984 Los Angeles Olympic Games (Some viewers/readers here would recall that the Communist bloc ended up boycotting those games, held in the U.S.A., ANYWAY.  So the whole exercise was futile ... But the "sports doctors" posing here more properly as "witch doctors" were being asked to get the athletes "ready" ANYWAY). 

Now how would Anna and her team-mates initially "not know" that they were being doped in this way?  Well (1) they were young (Anna would have been in her late teens, early 20s); (2) they were proud that they were already athletic enough to "make the grade" to be selected for the state-sponsored national athletic training program, and the said national athletic training program already had a scientific/professional almost science-fictiony / "space program" feel to it (besides coaches there were all sorts of trainers, sports doctors and other therapists always hovering about); and (3) they were already receiving regular "vitamin injections" as part of the nutritional regimen of their program.

So the "simple change" from one set of injections to another would not draw a great deal of initial notice by the athletes themselves -- except for (1) sensing a new level of defensiveness / evasiveness on the part of the coaches and sports doctors, when one or another of the athletes would ask questions that would seem otherwise quite reasonable:

Q: "What's the new concoction supposed to do?"
A: "It'll increase your muscle density, making you stronger and faster, and in a way that _nothing else in sports medicine_ can deliver."  Hmm...

Q: "Why am I being asked to sign special forms now that I didn't have to in the past"
A: "Well, you've been _selected_ to participate in something very special here, my dear.  YOU SHOULD BE PROUD OF HAVING RECEIVED THIS HONOR, and WE KNOW THAT you'll make OUR WHOLE COUNTRY proud."

Q: "What if I refuse to take the new injections?"
A: "Well, YOU'LL HAVE TO LEAVE THE TEAM, something that will certainly be a great disappointment to us AND TO THE WHOLE COUNTRY, as we and THE WHOLE COUNTRY have already _invested a great deal of money and resources_ into your training/preparation"

and (2) beginning to experience the multitude of steroid-based side-effects:  the sudden experience of various abdominal pains when one had no previous history of such things in the past; the predictable appearance chest and facial hair that would certainly terrify most young women; a noticeable spike in the number of tendon injuries among one's team-mates.


OKAY, you find that your coaches and doctors ARE PROBABLY MESSING WITH YOUR BODY IN A WAY THAT MAKES YOU REALLY UNCOMFORTABLE.  WHAT DO YOU DO?

Well, folks, that's the rest of the film.  What do you do?  Czechoslovakia was NOT a free country in the 1980s.  And even Anna's own mother (played wonderfully by Aňa Geislerová [IMDb] [CSFD]* [FDB]*) WHO HATED THE REGIME encouraged Anna to continue to take the "Stromba."  WHY??  "Just shut up, keep your head low, qualify and then you'll be able to get out of the country and YOU'LL FINALLY BE ABLE TO BE FREE."

Of course, though, the Czechoslovak Socialist Republic along with the rest of the Communist Bloc ended up boycotting the 1984 Los Angeles Games ANYWAY ...

It all makes for a fascinating movie about how DEFENDERS / PROPONENTS of an INSECURE / PARANOID IDEOLOGY can come to MESS WITH THEIR MOST VULNERABLE (HERE ITS YOUNG) for the sake of "PROVING" that SAID IDEOLOGY is "better" than it really is.


ADDENDA

An excellent English language recent documentary on the former East German athletic doping program is the PBS's Secrets of the Dead: Doping for Gold [2008] episode available for streaming free on the PBS's website.

Additionally, a recent there has been a critically acclaimed GERMAN documentary You Will Not Lose (orig. Einzelkämpfer) [2013] on the matter as well (Interview with former GDR athlete and director of the documentary Sandra Kaudelka).


* Reasonably good (sense) translations of non-English webpages can be found by viewing them through Google's Chrome browser.

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Kill the Messenger [2014]

MPAA (R)  ChicagoTribune/Variety (3 Stars)  RogerEbert.com (3 Stars)  AVClub (C+)  Fr. Dennis (4 Stars)

IMDb listing
ChicagoTribune/Variety (A. Barker) review
RogerEbert.com (G. Kenny) review
AVClub (J. Hassenger) review  

Kill the Messenger [2014] (directed by Michael Cuesta, screenplay by Peter Landesman based on the books Dark Alliance by Gary Webb [IMDb] and Kill the Messenger by Nick Schou [IMDb]) tells the story of San Jose Mercury-News reporter Gary Webb [IMDb] (played in the film by Jeremy Renner) who reporting on some of the trials of various mid-level California drug traffickers walked into an investigative journalists' dream / conspiracy of a lifetime:

It turned out that some of the key government informants against some of these mid-level California drug traffickers worked for the CIA and had been involved _in protecting_ some of these same mid-level drug traffickers from prosecution in the 1980s because these drug-traffickers were moving "bargain priced" cocaine that was being converted to _crack cocaine_ which _due to its "bargain price"_ EXPLODED then onto the drug scene in AFRICAN-AMERICAN GHETTOS ALL ACROSS THE U.S., AND (yes, there's an and) THE PROFITS FROM THE SALES OF THIS DIRT-CHEAP CRACK COCAINE WERE BEING USED TO FINANCE THE CIA SUPPORTED CONTRAS (IN NICARAGUA).

I warned you, this was ONE HECK OF A CONSPIRACY, originally reported by Gary Webb in a three part series printed in the San Jose Mercury-News between August 18-20, 1996 and is available in full (on the Libertarian-leaning / anti-Drug War website "NarcoNews.com"). 

For those too young to remember the Contra War / Controversies of the 1980s, the then Reagan Administration was basing a good part of its strategy in fighting the expansion of Communism in Central America on supporting the "Contra" rebels fighting the pro-Soviet Sandinista regime in Nicaragua, the Sandinistas having successfully overthrown the decades-old pro-U.S. Samosa family dictatorship there in 1979 under then U.S. President Jimmy Carter.  The then Democratic Party dominated U.S. Congress, however, refused to fund the Contras.  So the Reagan Administration / C.I.A. and affiliated right-wing groups looked for all sorts of "creative" ways to fund the  Contras without using U.S. taxpayer money to do it.  

The most (in)famous scandal of the time in this regard was the Iran-Contra Affair, in which the U.S. supplied Iran (at that time in the midst of a deadly war with neighboring Iraq) with U.S. weaponry IN PART in return for release of U.S. hostages held by Iran-supported Shia groups in Lebanon AND IN PART FOR MONEY which _technically not_ from U.S. taxpayers was then used to finance the Contras.   At subsequent Congressional hearings, U.S. Col. Oliver North working on President Reagan's National Security Council Staff, (in)famously called this scheme "a neat idea."

Getting hundreds of thousands to millions of African-American youths addicted to crack cocaine and turning around and JAILING AS FELONS said hundreds of thousands to millions of African American youths for everything from competing drug-gang shoot-outs TO SIMPLE POSSESSION and SUBSEQUENTLY DENYING HUNDREDS OF THOUSANDS OF THEM (AS "FELONS") THE RIGHT TO VOTE EVER AGAIN would have seemed like ONE HELL OF AN IDEA for SOUTHERN RIGHT-WING RACISTS still smarting from their loss of their past power to deny Blacks the right to vote throughout the South thanks to the passage of the Johnson Era 1965 Voting Rights Act.

Consider simply that G.W. Bush "won" the 2000 election by a few hundred votes in Florida WHILE THERE WERE OVER A MILLION OF _PETTY_ "FELONS" IN FLORIDA DENIED THE RIGHT TO VOTE _FOR LIFE_ FOR SIMPLY BEING ARRESTED WITH A ROCK OR TWO (PLANTED?) IN THEIR POCKET. 

Imagine what this country could have been like WITHOUT the G.W. Bush Presidency:

(1) A BALANCED FEDERAL BUDGET and PERHAPS EVEN A COMPLETELY PAID DOWN FEDERAL DEBT (we were ON TRACK FOR THAT at the end of the Clinton Administration),

(2) NO 9/11 -- (!!) -- The Bush Adminstration was simply not concerned about terrorism until those planes crashed into the WTC and the Pentagon.  Instead, they were focused on missile defense against North Korea, and a still secret "energy task force" that could have very well plotted the division of oil spoils a "post-invasion" Iraq.  By contrast, the Clinton / Gore Administration did take their National Security advisors seriously with regard to terrorism and did break-up a fairly major plot on the homeland around the turn of the Millenium.

In any case, we'll never know what could have happened because hundreds of thousands of African Americans who could have voted in Florida (and would have certainly voted for Gore rather than G.W. Bush) were not allowed to vote because they were "Convicted Felons" even if their convictions were for possession of trivial amounts of (even _planted_) crack cocaine.  

Again, selling AFRICAN AMERICAN YOUTHS cut-rate "crack cocaine" and using the funds to finance the Contras was ONE HELL OF AN "NEAT" IDEA ...

And Gary Webb, who stumbled onto this story, was eventually destroyed for writing it, and even died, somewhat mysteriously, in 2004 -- of suicide WITH TWO BULLETS IN HIS HEAD (possible, but ...)

Anyway, enjoy look the film up and read.  Again, Webb's whole original expose is available here.


ADDENDA:

Excellent articles about how the Felony "loophole" has been used to deny millions of (mostly people of color) the right to vote in the U.S. and especially Florida can be found here:

Susan Greenbaum, Restore Voting Rights to Ex-Felons, Aljazeera America, Feb 14, 2014

Did Florida's Felon Disenfranchisement Laws Cause Al Gore from Losing the 2000 Election? (procon.com)


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A Dream of Iron (orig. Cheol-ae-kum) [2013]

M

MPAA (UR would be PG-13)  Fr. Dennis (3 Stars)

IMDb listing
AsianWiki listing

A Dream of Iron (orig. Cheol-ae-kum) [2013] [IMDb] [AW] (written and directed by Kelvin Kyung Kun Park [IMDb] [AW]) is a South Korean documentary reflection which played recently at the 2014 (50th Annual) Chicago International Film Festival.

The thesis of the often striking visual (documentary) reflection was that while cave drawings in South Korea dating back 30,000-40,000 years indicate that Korea's first inhabitants venerated whales (the largest beings around) as de facto "gods," they soon came to master (kill) them.  Today, we arguably venerate even more enormous beings (in the form of truly GIGANTIC ships and super-tankers, often built at South Korea's Hyundai shipbuilding works).  But by building them, we actually "Master" them as well.  So by "venerating" "our Gods" do we actually "consume" them and thus destroy their divinity?

It makes for a fascinating visual (and at times auditory) reflection.  One of the more striking comparisons made is, in fact, auditory -- as the whale songs _can sound_ like the traditional humming of Buddhist chants, which in turn _can sound_ like the noises made by GIANT hydraulic machines. 

In the end, the film arguably declares that we ourselves, at least as "Man," if not as "people" (who in comparison to both the whales and the giant ships that we build may look like ants), are the True Gods of our times.

I don't necessarily agree with the film's thesis (it's rather Idolatrous, with a Capital "I")  But the visuals are, in fact, striking and worthy of those found in the films of Ron Fricke and Mark Madigson who've previously brought us some truly Wondrous visual reflections on arguably religious themes such as Chronos [1985], Baraka [1992] and most recently Samsara [2012] (reviewed here).
 

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It Follows [2014]

MPAA (R)  Fr. Dennis (3 Stars)

IMDb listing


It Follows [2014] (written and directed by David Robert Mitchell) is an American award-winning low budget "indie" horror film making the rounds in the festival circuit.  It played recently at the 2014 (50th Annual) Chicago International Film Festival and is scheduled to be released to the general public sometime in 2015

The film is about a random, and by appearances generally "nice," 19-year-old suburban girl named Jay (played by Maika Monroe) who "finally" has her first sexual experience with a similarly seemingly nice / good-looking guy named Hugh (played by Jake Weary).  HOWEVER, as she waxes softly and sweetly in the back seat of Hugh's car, parked somewhere secluded by a river-bank or something, about the "wonderfulness" of what they/she had just experienced, she's shocked to find Hugh go to the trunk of his car, and then come after her with a roll of duck/electrical tape to tie her up and take her to another, very different, "secluded" location.

He takes her to a large mostly empty parking garage somewhere, ties her with the above mentioned duct tape to a wheelchair, a piece of her clothing shoved in her mouth so that she wouldn't scream, rolls her out into the middle of said parking garage and ... waits.  For what?

Eventually, a lumbering half dressed, half decayed zombie appears and starts lumbering up the on-ramp toward their floor, and indeed, toward HER.

This is when Hugh, quite desperate and quite emotionally ... explains.  He apologizes to her (tied and gagged, strapped to a wheelchair...), but says that there was nothing he could do (and actually that he's _still_ being something of a "nice guy" here).  He tells Jay, rag still in her mouth, that he's infected her with a sexually transmitted curse that attracts ... zombies.  And that the ONLY way (apparently) to get rid of said curse is to "pass it on" to someone else.  BUT ... if that next person gets killed / eaten by a zombie, those zombies will go back and come after her again.  (This is why, Hugh didn't just leave Jay to her own devices and instead tied her up and had her encounter said zombies in a "controlled location" ... in the middle of a half-empty, out-of-the-way parking garage with him present to explain what is going on....

As soon as she sees said zombie lumbering toward them, toward HER, and Hugh gets his chance to explain what is going on, he sets her free, and ... dutifully drives her home (perhaps, sort of like a "perfect gentleman" again ...).  It's clear though that HE NEEDS HER to know what's going on so that SHE can live long enough to transmit "the curse" to someone else (and hopefully explain TO THAT PERSON what he must do) so that the curse won't go back down to him/them again.

So... here's previously more-or-less "nice" Jay, who's had her first sexual experience at 19, with who she thought was "the perfect guy" and now she's got a sexually transmitted curse, and "the ONLY WAY" to get rid of it is to have sex with someone else, but then with someone smart, perhaps "streetwise" enough to find a way to transfer it to yet another person who'd again be smart/streetwise enough to transfer it again upwards, so that the Curse "never comes back."

So ... poor previously sweet Jay ends up sleeping (all off more-or-less screen) with as many as 6 guys during the course of the film -- (1) with dreamboat Hugh, who gave her the curse, (2) with a neighbor of hers, Greg (played by Daniel Zovatto), who's had a crush on her / and she's had a crush on him, who SEEMS smart enough to know what to do to avoid having the curse come back to her, BUT HE GETS KILLED BY THE ZOMBIES, (3-5) with as many as THREE random guys in a boat who she meets walking along a lake (but only one of got the curse, and he proved too stupid to live much longer after that) and (6) finally with a quite nerdy admirer of hers, Paul (played by Keir Gilchrist), who keeps volunteering to help her, but she keeps looking past him, until ... she runs out of guys.  This nerdy guy, Paul, is not altogether bright and probably would never be able to transfer the curse upwards, BUT ... TOGETHER ... they PERHAPS have a chance of defeating the Zombies.

This is obviously not the most morally uplifting film, of course.  But _somewhere_ in the film's "horrific" imagery is actually something of a moral message: Sex with "dreamboat Hugh" proved to be far more consequential/problematic than poor Jay ever imagined.  Then after going though a whole line of "cooler" guys who turned out to be "useless" anyway, she finally turns to the nerdy guy who's loved/worshiped her all along and TOGETHER (rather than "wham, bam ... good luck ...") they set out to deal with "the Zombies."  

In any case, it's probably the most original horror movie to come out in a while AND ... THERE'S NO (!) "lost footage" in this film.  Thankfully, we may be done with THAT horror-story telling device.


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Birdman or (The Unexpected Virtue of Ignorance) [2014]

MPAA (R)  CNS/USCCB (A-III)  ChicagoTribune (3 Stars)  RogerEbert.com (4 Stars)  AVClub (B+)  Fr. Dennis (4 Stars)

IMDb listing
CNS/USCCB (K. Jensen) review
ChicagoTribune (M. Phillips) review
RogerEbert.com (C. Lemire) review
AVClub (A.A. Dowd) review

Birdman or (The Unexpected Virtue of Ignorance) [2014] (directed and screenplay co-written by Alejandro González Iñárritu along with Nicolás Giacobone, Alexander Dinelaris and Armando Bo) is a "fargin' good" film about "Riggan Thompson," a Michael Keaton-like character (played by Michael Keaton ;-) who had made his mark/fortune, some 20 years back, playing a winged Superhero named "Birdman" in three blockbuster films. (While having been a very talented comedic actor prior to starring in the first two blockbuster Batman [1989, 1992] movies, those two "Superhero" films largely defined Michael Keaton's career as well ... until ... possibly ... now ;-).

So ... after living 20 years on "Birdman money," Riggan decides, for reasons not entirely clear, to dump much of the rest of his money into an über-serious / über-intimate stage adaptation of an über-serious / über-intimate short story by Raymond Carver entitled, What We Talk About When We Talk About Love.  Apparently having been previously dismissed by "serious critics" as "a Super-Hero acting lightweight," the consequently über-defensive Riggan himself _wrote_ the said über-weighty stage-adaptation of Raymond Carver's über-seriously titled _short story_ and ... was planning to direct it and star in it -- on Broadway no less -- to prove said critics WRONG!

That's if he can get the dang cast ... through rehearsals.  The cast's only four people - two women, another male and him.  How hard could THAT be?  There's them plus another couple of significant others hanging about the set -- an ex-wife who's actually, if mostly shaking her head, somewhat supportive, and a daughter (played by Emma Stone) just out of rehab who _hates him_ though, of course, not exactly sure WHY she hates him, 'cept that she DOES ;-)   

It _hasn't_ been easy ... two weeks before opening, A BIG METAL HOOK drops down "from above" and clunks Riggan's male costar in the head, knocking him out of commission (and threatening a subsequent lawsuit).

What to do?  Well, Lesley (played by Naomi Watts), one of the two female leads in the play, tells Riggan that she could have a replacement for him.  Who on such short notice?  Well, he's HER BOYFRIEND, Mike (played by Edward Norton), an über-talented (but also über-problematic) Broadway "Method" actor.  He's GOOD.  But then if he's so good, why would he "be free" to play the role on such short notice? Well, did I mention that he was ALSO "problematic?"

So Mike "I am MY ROLE" steps-in with TRULY APPALLING CONFIDENCE and is soon arguing with Riggan over the point of many of Riggan's crafted out of "I'll show them"/love/desperation but in any case WRITING-SCHOOL-(AMATEUR)-LEVEL lines/dialogues in the play ;-)  

Sigh ... "Just put this thing out of its misery," Riggan's "BIRDMAN" voice (in his head) taunts him:  "BE WHO YOU ARE!  SOAR!  BIRDMAN !"

But poor Riggan is going to PROVE that he CAN be a "REAL ACTOR" ... Much, often hilarious, ensues.

I just loved this film!  But then, I've loved Michael Keaton since his film Johnny Dangerously [1984] ("It's a fargin' good film, you iceholes!" ;-).  And the film's just a blast to watch.  Other reviewers have commented on the fantastically long shots made in this film, and it's clever stitched together editing.  It also shows that director Alejandro González Iñárritu can do more than just really, really weighty films like Amores Perros [2000], Babel [2006], Biutiful [2010] and, of course, Gravity [2013] ;-). Look for this film to receive all kinds of nominations come Awards / Oscar season!


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Ouija [2014]

MPAA (PG-13)  CNS/USCCB (A-III)  RE.com (3 Stars)  AVClub (C-)  Fr. Dennis (1 Star)

IMDb listing
ChicagoTribune/Variety (J. Chang) review
CNS/USCCB (J. Mulderig) review
RogerEbert.com (O. Henderson) review
AVClub (K. Rife) review

Ouija [2014] (directed and cowritten by Stiles White along with Juliet Snowden) is a film that I could not bring myself to see because (1) it is about divination, something that Catholic Church does have issues with (CCC 2115-17), and (2) it's basically a two hour advertisement for the Hasbro-trademarked version of a "divination board" which one could actually easily make for free -- my dad's generation "back in the 1940s" and "in the old country" (today's Czech Republic) would simply use a small mirror on a flat surface, on which they themselves wrote out the letters, to do the same thing as Hasbro's Ouija board does -- without needing to buy the game board from anybody.

Now what's wrong with "Divination?"  Well, my favorite cautionary tale about divination comes from a somewhat amusing story in the Bible ;-): The poor King Saul, facing an impending battle with the Philistines and afraid that the Prophet Samuel was right, that God had withdrawn his blessing from him (in favor of David), goes to "the Witch of Endor" to summon the deceased prophet Samuel "from the beyond."  Well, she succeeds in doing so.  What does the deceased Samuel tell Saul?  That, yes, Saul's going to lose the battle with the Philistines and that he and all his sons will all die in that battle (1 Sam 28). Now THAT was ONE HECK OF A "FORTUNE COOKIE" :-). 

Anyway, since having first heard story when I was, something like 10 years old, I've always loved that story: There ARE some things that one would just not want to know ;-) especially if there would be nothing that one could do to change one's destiny.  

Then the whole purpose of the Quija board exercise is to conjure up some entity "from the beyond."  Well, it should be rather clear that even if one could conjure something up like that, one would _not_ have the faintest idea of what that entity would be.  Hence, the exercise is either pointless or dangerous ... and it could even simply deliver one bad news. 

So then the film ... it presents a story about a bunch of teens who find their using of a Ouija board to be a rather harrowing experience ... Well, if proved "uneventful," it wouldn't make for much of a story, would it? 

So there it is ... and why I chose not to spend money to see it ;-)


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The Kindergarten Teacher (orig. Haganenet) [2014]

MPAA (UR would be R)  Fr. Dennis (3 Stars)

IMDb listing

MUBI (D. Kasman) review


The Kindergarten Teacher (orig. Haganenet) [2014] (written and directed by Nadav Lapid) may begin as an unassuming, diminutive ("indie style") Israeli film.  But don't let that fool you.  By the end, the film certainly "packs a punch."  (The film played recently at the 2014 (50th Annual) Chicago International Film Festival).

The film's about ... a kindergarten teacher, Nira (played by Sarit Larry), 40 something, married to a kindly, unassuming engineer (played by Lior Raz).  Together they have two grown children, a daughter who's living with her boyfriend in the States and a son who's currently serving in the Israeli Army.  While both husband and wife would seem to be fundamentally gentle people, there's a sense that both are going through an "empty nest" adjustment: the kids are basically grown, what now?

Well, besides her continuing work with little kids as said kindergarten teacher, Nira's joined a poetry writer's club, filled with people both her age (and younger...) who basically give each other mutual support in their writing efforts (but don't become too good, 'cause then one or another in the group will become jealous and try to bring you back down a peg or two ;-).  (Seriously, I enjoyed "writers' club" scenes in this film very, very much, reminding me very much of similar scenes in the much higher budget (and IMHO excellent) Hollywood film Wonder Boys [2000] which was also about "emerging" and otherwise "struggling writers.")

Now Nira has no particular ambitions of "making it" as a poet.  It's just something that has come to interest her, something that she explains to another had been lacking in her far more spartan upbringing (Israel of the 1950s-60s was something of a modern day Sparta...), and well, probably something that "got her out of the house" so that she wouldn't have to deal as much with her husband, who, now that the kids were largely gone, she'd have to probably talk to more than she'd want to, in this new and uncertain point in their lives ...

Okay, enter A FIVE YEAR OLD, Yoav Pollak (played by Avi Schnaidman) a child, whose behavior FROM A DETACHED DISTANCE could suggest that he was at least mildly Autistic (he'd kinda go into a trance every so often, beginning to walk back-and-forth or somewhat rapidly in a circle), and, AGAIN while ONLY FIVE, was becoming a child of divorce (his mother had left his workaholic restauranteur father for, again, "an American").  And Nira becomes fixated on him, FIVE YEAR OLD, Yoav.

True, when Yoav would go into the above described trance, he'd, quite amazingly, come to articulate what appeared to be _remarkably good_ "free form poetry" ... BUT ... HE'S FIVE YEARS OLD.  Honestly, it doesn't appear that he understands what he's doing (AND AT FIVE ... I'm sorry, from a distance, it seems so obvious ... HOW COULD HE?)

But poor Nira, who as introduced above, is also having some "empty nest" issues, becomes convinced that he's some sort of a Mozart-like genius and progressively becomes MORE AND MORE INVOLVED IN THIS POOR KID'S LIFE ... to the point that (without MUCH OF A SPOILER) it can't possibly end well.

In any case, the film becomes a fascinating, and actually quite gentle / compassion-seeking presentation of HOW A TEACHER (WHO OBVIOUSLY SHOULD KNOW BETTER) could get (YUCK...) "involved" with a minor in a way that's OBVIOUSLY INAPPROPRIATE / HARMFUL TO THE CHILD ... but, well, she was going through some "unresolved" (yet comprehensible, IF CAUGHT IN TIME) issues of her own.

In anycase, it all made for another quite brave and certainly thought / (perhaps) discussion provoking film.  Good job CIFF, Good job!



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