The Cakemaker

This is the first jewish film I've seen, and I have to say that I was pleasantly surprised by it. It is very well crafted, acted, directed and written.

Altough sometimes it is quite slow, the script is very good, melancholic and above all, real. The main confflict shows us kind of a love triangle that we have never seen before; a situation that is so strong that when you start thinking about it during the end credits of the movie, it's like "God, how the hell could this even happen at all?"

One of the things I liked the most about this film was the soundtrack. It is simple and beautiful and it always entered at the right time, giving it a more dramatic atmosphere during the scene. This, along with the excellent photography, made a great combination that makes you feel what the characters feel thanks to the very personal shots it has.

And obviously, the acting doesn't stay behind. The performances by the main protagonists were great and truly convincing; I liked a lot the job of the main protagonist, there was even a moment at the movie were I thought that his performance didn't look as a performance anymore. It looked as if he was living it rather than acting it. And that is something that every actor must do all the time.

Overall, it is totally worth to watch if you're someone that appreciates stories that make you think and engage with them from beggining to end.

Thanks for reading!

Here we have a beautiful movie about a woman who apparently has given up religious observance (why?) and opened a cafe although she's not particularly good in the kitchen (why?) and a couple of men who fall in love with each other (why?) but although they're extremely underwritten characters, you don't notice because you're carried along by the pacing and the photography and the architecture and the music and some nice cakes and cookies. ("What cafe would serve such a big slice of cake?" my wife says.) It doesn't hurt that the actors are well chosen, including one of Israel's top actresses, Sara Adler, who seems to specialize in strong but quietly uncertain women. Any movie featuring her is worth seeing, even if there isn't much else to it (as in, for example, 2012's "Aya").

"The Cakemaker" (2017 release from Israel; 104 min.) brings the story of Thomas, a cakemaker in Berlin whose Kredenz Cafe and Bakery is frequented by Oren, an Israeli guy often in Berlin on business. Even though Oren has a wife (Anat) and young son in Jerusalem, Thomas and Oren start an affair. We then go to "One Year Later", and apparently Thomas and Oren live together when Oren comes to Berlin. Then one day, after Oren leaves for Israel, he no longer returns Thomas' calls, and to his horror, Thomas finds out that Oren was killed in an accident. Wanting to find out more, Thomas decides to go to Jerusalem and contact Anat (without revealing to her who he is). At this point we're 15 min. into the movie, but to tell you more of the plot would spoil your viewing experience, you'll just have to see for yourself how it all plays out.

Couple of comments: the movie is written and directed by Ofir Raul Grazier. I can't say that I am familiar with his prior work. But I do know this: "The Cakemaker" is one of the best movies I have seen this year. Given the plot-heavy nature of the movie (the key question being: will Thomas reveal to Anat who he really is or will he be found out about?), I am not going to say much more. Well-known and respected French-Israeli actress Sarah Adler is outstanding as the grieving widow. German actor Tim Kalkhof plays Thomas, and does fine. As it turns out, this is a bit of a foodie movie too, featuring German cakes and pastries (I'll have another slice of Black Forest Cake any day!).

"The Cakemaker" premiered on the film festival circuit in the summer of 2017, and has won near-unanimous critical acclaim. Indeed, "The Cakemaker" is one of those rare movies that is certified 100% fresh on Rotten Tomatoes. "The Cakemaker" opened at my local art-house theater here in Cincinnati this weekend, and I couldn't wait to see it. The Friday early evening screening where I saw this at was attended okay, but just okay (about 15-20 people). If you have any interest in a top notch foreign movie with fully developed characters and with a touch of foodie stuff sprinkled in, I'd readily suggest you check out in the theater (if you get a chance), on VOD (more likely) or eventually on DVD/Blu-ray, and draw your own conclusion. For me, "The Cakemaker" is a WINNER all the way.

This first feature from Israeli director Ofir Raul Graizer has been picking up prizes around the world. It's easy to see why. The story of a young German pastry chef who makes a pilgrimage to Jerusalem and inveigles his way into the life of his male lover's widow without revealing his identity is beautifully told and although tragic ultimately satisfying. At the London Film Festival, where the film was nominated for the Sutherland prize, Graizer revealed that he developed the story from one he'd heard. Each scene is simply but expertly shot and the overall effect is profoundly moving. The Israeli cast, particularly Sarah Adler as the widow, is as good as we've come to expect from this country's actors; but Tim Kalkhof as the boy - quiet melancholy masking a huge depth of emotion - is superb. An award for this role must be on the cards.The couple's sex scene in a kitchen, covered in only two takes, is electrifying. Along the way Graizer also deals with the mysteries of kosher rituals, while the food preparation becomes almost hypnotic. One expects the impossible situation that develops to be unresolvable and for the film to stop abruptly. But there is a suggestion of a happy ending. The characters are so well drawn that this is a film that will stay with you long after the final fade.

The Cakemaker is melodrama fodder. A married man, a young son, a gay affair, death, deceit, revelation - the setup has all the trappings of a trite lifetime movie. It's not though, far from it. Instead, it's one of the quietest and most delicate films I've seen this year. It trades dramatic fireworks for quiet rumination, diving deep into the psychology of grief rather than indulging in scandal. The performances are beautifully restrained, the dramatic weight carried on the slightest of expressions. Character motivations are left largely unarticulated, challenging the viewer to empathize and draw their own conclusions as to their thoughts and feelings. The languid pacing may be patience-testing for some, but I found myself comforted and calmed by the stillness of the film. The drama is quite layered as well with cultural, social, and religious themes impressing upon the core triangular relationship. Perhaps what I admire most about the film though is the broad, non-judgmental way in which it depicts love and loss, unbound by social and cultural divides. A beautiful, honest, and melancholic piece.

Strong 4/5