Much of the talk surrounding any given era of film history centers around the importance of emergent national cinemas - consider the Thai, South Korean, and Romanian cinemas of recent years. To this list of important emerging cinemas we add Israel. A country which for decades couldn’t even convince its own residents to see its films, Israel has lately released a series of strong films, to which I can add two of the features which played this year’s festival:

The Band’s Visit (2007, Eran Kolirin)

Kolirin’s film is a major crowdpleaser, a light droll comedy with, as one character announces, ‘tons of sadness,’ that nevertheless stands as an encouraging political statement about the potential for Israelis and Arabs to get along. The story of an Egyptian police band who gets lost on their way to a concert, The Band’s Visit is an observant demonstration of the power relations between these men and the awkwardness of the heart’s affections. The film’s single greatest shot - a masterclass in framing, comic timing, and musical selection - is all three ruthlessly cynical, showstoppingly funny, and hopelessly romantic.

Jellyfish (2007, Shira Geffen and Etgar Kerret)

One of my favorite films this year - gentle, moving. A network narrative with little interest in its own mechanics but a strong interest in the mysteries of the heart and the tragedies of everyday interaction. Jellyfish is just 70-odd minutes long but in its runtime it follows the story of a Filipina trying to find work in Tel Aviv, a honeymooning couple at ends in the world’s most bizarre hotel, and a young catering waitress’s interactions with a mysterious redheaded child who has washed ashore. Magical, and seemingly effortless. An incredibly promising debut.
Also notable:

Death of Shula (2007, Asaf Korman)

25 minutes. That’s all it takes for one of the world’s next great filmmakers to announce himself. A gripping, hauntingly beautiful story about an old man forced to put his beloved tumor-addled dog to sleep and then transport him to be buried, Death of Shula is an aching film about God’s silence and a family’s indifference to an old man’s unbearable pain. Its final shot - the content of which I dare not reveal here - is a startling gambit, perhaps too indulgent, but maybe the single bravest moment of cinema I saw all festival.

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