Medurat Hashevet

"Campfire (Medurat Hashevet)" will probably draw the most attention for its insights into West Bank settlers of the 1980's, but I found it more intriguing as a moving and humor-filled portrait of a family caught at the conflict between feelings and society, particularly in a boys will be boys culture.

Like "Broken Wings (Knafayim Shvurot)," this is an Israeli family with teenagers struggling with apolitical grief, but that was a secular family. Like "Upside of Anger," there's a grieving mom struggling with teenage daughters as all are dealing with their loneliness and sexuality. Like "Welcome to the Dollhouse" and "Smooth Talk," it deals with teen girls susceptibility to guys. "Saved!" showed teens dealing with some these issues in a comparable conservative community, but satirically unsympathetic.

Here instead we have a mother in a situation that would be difficult in any time, any place. The mother has just finished her year of mourning for her husband and is at loose ends, financially, emotionally and as a now single parent of daughters anxious to get on with their lives. All three are vulnerable to persuasion. But they happen to be a modern Orthodox family in Israel so their normal developmental stages are buffeted by religious and social strictures on their behavior.

The mother is attracted to the possibility of joining her husband's friends in a group to found a West Bank settlement, more for the companionship and structure it would give to her and her family's life than for zealotry. I'm sure American audiences miss a lot of the political references during scenes of organizing committee meetings, applicant interviews and singing, sloganeering and film viewing (let alone subtleties involved with types and angles of head coverings and length of skirts worn, eating habits and the summer fast day of Tisha b'Av), but the diversity of motivations and social hypocrisy of many of those involved does come through. Going through the process of dealing with these friends and their expectations makes her stronger as an individual, particularly as she reflects on her marriage and what she wants from future relationships.

The triangle of the younger and older women's relationships is among the most emotionally frank I've seen on film in its honesty about insecurities, confusions and peer pressure in male-female relationships, symbolized throughout by the father's car and how they and the guys around them deal with it.

While the mother is pushed to re-enter the dating pool and explores a relationship with some similarity to how Catherine Keener sweetly handles "The 40 Year Old Virgin," the older daughter focuses on her one-track minded hunky soldier boyfriend, seems to be rebelliously secular and is opposed to moving.

The younger daughter absorbs all these contradictory signals. There's a marvelous scene of her exuberantly dancing to romantic pop music at home by herself that is straight out of "My So-Called Life" (or the totemic equivalent for guys "Risky Business") to show that in the U.S. she'd be considered a typical teen ager. Her curiosity about boys is therefore not surprising, so that the adults around her seem rigidly clueless in not expecting that restlessness from her when the appeal of the bad boy is clearly universal. There are occasional references to the complexities of a diversifying Israel that Americans can understand, as when the mother comments the B'nei Akiva youth group isn't the same as when she was young.

The actresses are refreshingly not Hollywood beautiful, though it is clearly a running visual joke when the safe guy choices are not just nerdy but are bursting their untucked shirt buttons, even as it is sympathetic to their pressures as well, making the alternatives that much more attractive.

While this is no "Norma Rae" or "My Brilliant Career" as a feminist tract, nor is it the anti-Orthodox agit-prop of "Kadosh," the film has a strong, fair and balanced humanistic and sweetly forgiving point to make about women in a male-dominated society who are expected to act a certain way and the consequences they face when they step out of line -- and how the men who love them can be supportive as they learn to live together.

While "Campfire" is distributed unrated by the MPAA in the U.S., as a parent I would give it a PG-13. It deals with some of the same issues as PG-rated "The Sisterhood of the Traveling Pants" but in a more serious and mature way as applied to a younger teen.

Campfire (Medurat Hasevet) marks the last film for me during the Israel Film Festival, and personally, I thought this film was the most mature of the lot, being honest in exploring the lives and relationships in all members of a single parent family. Being all women in the house, recently widowed Rachel Gerlik (Michaela Eshet) takes great pains in order to protect her daughters Esti (Maya Maron) and Tami (Hani Furstenberg) from growing pains, and it is in the characters that we see an observation of romance in three forms.

For Rachel, it is a second chance at real romance. She admits to her daughters that she has never been in love, not even with their father, and opportunity comes in the form of Yossi (Moshe Ivgy) the bus driver, who's attentive and sincere, and while having his own awkward moments at professing his love, you're likely to root for him to get his girl. Rachel though has her hands full, in juggling a fight to be accepted by her community in order to relocate to the new West Bank settlement to start life afresh, now made complicated by a potential love, and in trying to reconnect with her daughters.

In elder daughter Esti, we see budding puppy love, as well as her very distinct opposition with her mom, stemming from Rachel's refusal to provide her with some privacy at home. I guess every parent will have to face their kids at this point in their teenage lives, and hopefully live to tell the tale of triumphant tolerance in the face of constant cynicism. And lastly, probably the saddest of the lot, with Tami and her brush with one ugly emotion of Lust. The English title at least, refers to a pivotal moment in the story which involves around the Bonfire incident, and you can't help but seethe with rage, where writer-director Joseph Cedar succeeds in eliciting anger with a sense of helplessness, and deep despair.

What succeeded too is the performance of Hani Furstenberg in fleshing our her character, as we witness her credible spectrum of emotions ranging from the damsel in distress, and in being able to draw strength from within to deal with her terrible ordeal. Her chemistry with Michaela Eshet is quite amazing, and you will definitely be moved at how their characters interact with each other in the dealing with the fallout, even though it was just a short scene. I guess nobody should be made to suffer in that manner without clear repercussions or punishment, but reminds you in real life that sometimes there are situations where you can't expect everything to go in your favour, even though you're right and are seeking justice.

Instead, we see how one can face up to adversary in whichever form they take, and through Rachel, we realize that the well intent of others, who subconsciously impose their will and thoughts onto yourself, becomes enslaving, and there comes a time where one must break free. Free from living a life dictated by the community, of the need to conform unnecessarily, and to learn to stand on your own two feet. Michaela Eshet encapsulates this development of her character, and you can't help but to cheer silently when she finally breaks free from a mindset bondage.

It might be a small movie with a small principle cast, but its message and lesson couldn't be more than relevant, especially when it comes to the notion of blood being thicker than water, with a mother's love that knows no bounds.

I think people either love or hate this movie, and their politics will have an influence, of course.

The movie shows the less than pretty side of the settler movement and the national religious wing -- the sexism, the hostility toward anyone that doesn't fit the exact mold (even if they support the movement politically), the racism.

The heroine who thinks that going off to a settlement in the occupied territories is - surprise, surprise! - shocked to discover that as a woman without a man, getting accepted will be an uphill struggle (they tell her straight out they need men for not only defense, but prayer quorums, as women don't count there). The near rape of the younger daughter is by nationalistic religious boys who are on the outskirts of their own movement because of their dark skin (the very fundamentalist Shas movement is the result of this discrimination within the religious community, but that's another story).

Of course the religious/settlement people will hate this movie. The people responsible for sending it out of the country will probably be called traitors (and I wouldn't be surprised if there are death threats) for showing the warty side of the settlers among themselves, never mind towards the Palestinians.

Gaon is sure a hoot in his role -- by the way, in real life he is rather center left.

Take it from me, as one who is blood and flesh of this community, this is an extremely poignant and ACCURATE film, aside from being first-class cinema. Watching Asi Dayan as the founder of a settlement, Moshe Ivgy as a religious-Zionist loser/tragic hero and the hysterical Yehoram Gaon play an ASHKENAZI cantor was an incredible combination. Enjoy!

I think this policy of writing a minimum of ten lines is quite stupid as i am sitting at work right now and do not have the time to compose a magnum opus - this is a stupid policy that undermines intelligent people like myself who do not write long dissertations on films and know that most people do not have the patience to read such diatribes. Thank you.

The Israeli title is Medurat Hashevet. Rachel Gerlik is a widow with two teen daughters, Tami and Esti. She is struggling and applies to join a new West Bank settlement. She has to first convince the founding community of her commitment to the cause. Her girls join the group's youth wing for a camping excursion. Late into the night, Tami gets left alone with a group of boys around the campfire.

The hypocrisy is front and center. This is a tough situation and a challenging film. Some viewers may not want that challenge although it seem to have been a critical success in the festival circuit including Israel.