Einayim Pekukhoth

Situated in the orthodox Jewish community in Jerusalem this debut is a rare intimate view into a closed community where everyone keeps a close watch on each other and keep hold with an invisible grip. It's about homosexuality this time but it could have been about any other subject that is controversial. More than anything it's about the pressure of a community that gives one no other choice than either to bend or to break under the pressure.

Integer, honest and touching this movie tells itself by the images and not by an abundance of words. Silence contributes to the impact like a sonic boom. This movie is felt as much as it is seen. Wonderful, a gem.

I know nothing about jews or Israel, actually i'm an arab man and here we know no thing about the israeli movies at first i love the story and deep drama and great script, actors were good and i really dont know what i say ! this movie is one of my best

"Eyes Wide Open" has a wonderful sense of sincerity to it. It's a small, unpretentious film which manages to plunge to emotional depths without being showy or sensational. This restraint imbues the film with much power and conviction in telling the story of a family man whose inner world is torn apart when he falls in love with a young man. What makes this scenario unique is that the milieu in which this is played out, is that of the ultra Orthodox Jewish society in Jerusalem. As with all extreme religions there is of course no place for deviants from the norm.

Aharon, the protagonist, is a deeply religious man searching for truths who has to face the truth of his own heart. In perhaps the most poignant scene of the film, he confesses to his horrified spiritual mentor that he feels he's truly come alive for the first time.

"Eyes Wide Open" is the debut feature film of director Haim Tabakman. It is unusual for a first time director to demonstrate such assurance of style and tone. What would make or break a film of this nature is the quality of the performances. All the secondary parts are well played, but it is Zohar Strauss utterly convincing lead performance which makes the film work. There is not one false moment. This makes the inherent tragic situation an extremely moving one to behold. Highly recommended.

I attended the North American Premiere of "Eyes Wide Open" at the 2009 Toronto International Film Festival. This is a somewhat provocative yet understated examination of what it's like to be gay in the Orthodox Jewish world. In his first feature, director Haim Tabakman, working from a Merav Doster script, introduces us to Aaron (Zohar Shtrauss) and Ezri (Ran Danker). Aaron runs a Kosher butcher shop that's been in the family for generations. Ezri is an outsider, already under suspicion for questionable behavior, who enters Aaron's world with possible intentions beyond purchasing a hunk of meat. There's a joke there but I'll resist. The cultural constraints placed upon gays, or anyone who is different, are painfully drawn out as the neighbors decide what actions to take. The Orthodox Jewish community sends in its own goons (enforcers of God?).

This character-driven film is haunting and poignant. Like many foreign films, natural lighting is predominant. The cinema verité style, without regard to shadows, is much more powerful than images in traditional Hollywood movies -- provided the images aren't too dark -- a problem I've seen here with some films. The score is used sparsely, only to punctuate the more emotional moments. The pace is slow and deliberate, while long takes with little dialogue allow the actors to speak with their eyes, facial movements, and body language.

The collision of religion and sexuality is a common theme at every film festival. What is the meaning of restraint? Are we really being true to God if we destroy ourselves in the process?

Eyes Wide Open is the fantastically well played drama, eventually coming to mutate into a tale of taboo romance, of two men of differing ages and places in life formulating a bond that is much to the acknowledged risk of either party; the suspicion of those close to them and the eventual disdain of everybody else in the community. The film opens in the pouring rain, the back-streets of Israel acting as a run down and somewhat decrepit setting for middle-aged husband and father of two Aaron Fleischman (Shtrauss) to finally return to his butcher shop following the grief he has suffered born out of the loss of his father. Aaron is in a tough situation, the rain is heavy and there is little in the way of protection; the padlock on the shutter to the entrance of the shop proving an obstacle in the way made only possible to get rid of by resorting to a last-ditch effort of brute force to bash one's way through and in. Such an introductory situation goes on to encapsulate that of the film's; a predicament gradually, slowly getting worse before pushing mutates into shove and the conventional methods of a particular process must be put aside to deal with the scenario in a more pachydermatous manner.

Aaron goes on to take over his father's business; a butcher's business he helped his father out with here and there whilst much younger but a father now whose presence is strictly limited to that of memories and in photographs. Enter Ezri (Danker), a student in his early twenties whom has recently been flitting from place-to-place whilst trying to keep up with his studies; a man whom will come to play a large part in Aaron's life in the near future. Initially somewhat muted when on screen together, Aaron hires the young man as an apprentice in order to show him the basic routines of butchery; each hammer blow that comes down out of Ezri's swinging of the cleaver bringing about a terrific 'thump' on the wooden board. His freshness at wielding such a tool and the might with which he is operating it, what with his other hand in such close proximity, going on to neatly epitomise the danger the film will go on to carry - a 'close-to-all-but-disastrous-results' sensation which will surely come about if something goes wrong both in this new role and if certain revelations cannot be kept from the masses.

The men share some common ground just as much as the film enjoys establishing them as the binary opposites to one another. As a student, Ezri has committed most of his life to studying, whereas Aaron has done anything but although confirms that he would certainly like to. Ezri's wincing at the sight of what it is a butcher does is simply part-and-parcel of life to Aaron whereas Aaron's devout attention to religion is exemplified during a process of prayer in a local place of worship, something in stark comparison to Ezri who merely sleeps through such a gathering as everyone else of his ilk appear thoroughly into proceedings. When Ezri first enters the butcher's shop, he is rightfully wet-through due to the aforementioned rain; Aaron has had time to dry and the distinction between the men in their appearance in this regard strikes us. It is only much later on during which both men have arrived at a local spring, as their relationship develops, when the pair of them at once become as wet as Ezri was during that initial confrontation, the marking of Aaron in a similar manner symptomatic of his changing feelings and shifting onto a plain similar to that of Ezri in terms of akin homosexuality.

It is established Aaron is not a man whom is particularly scared to stand up to authority or a predominant voice, especially one within the community when he challenges a local Rabbi, who was an old friend of his father's, on certain theological views. Aaron's going against the distinguished norm here is later a characteristic he very much takes on to a further level in his coming together with Ezri. During another sequence, the verbal highlighting of Aaron's actions as that of dangerous or would-be scornful within the community is put across during a car journey; the Rabbi's pointing out of another young local boy and the subsequent labelling him as a "trouble-maker" is another example of where the nature of ill-advised relationships with others gets you within the community; his crime being the pursuing of a girl out of love with tendencies to stalk. As loose connections grow into greater unifiers, so does the film as the substantial and engrossing tale it is; Aaron's slow disenchantment at his family and life as a husband is highlighted in the bringing together of two single beds whilst with his wife, and yet it is inferred that very little happens. This could be seen in binary opposition to the two male leads, whom both share common ground in that when they initially meet, the pair of them are in the process of slipping out of a close bond or powerful tie with a gentlemen that meant a lot to them: Ezri's with a male partner we later hear him leave whilst on the phone and Aaron with his grief at loosing his father.

Director Haim Tabakman, running off of a Merav Doster screenplay, brings his characters together and explores in an absorbing and riveting fashion their back-stories plus behaviours before having that equality ruptured in a refreshing and dramatically involving way. Where many recent Isreali films have documented the past or certain other difficult, grizzly issues on the minds of Isrealis or Isreali communities, namely the Lebenon-set wars in films ranging from Beaufort to Waltz With Bashir, Eyes Wide Open explores another issue of immense controversy in the form of homosexuality and turning away from one's faith for personalised happiness within the said culture and does so wonderfully well.