Free Zone

I enjoyed this movie, and Im not just saying that because Im Jewish. But things that really really ticked me off was his editing technique, especially the overlapping just made me nauseous. I need to watch this movie again because I didn't understand a lot of the things. I didn't like the ending, it kind of just put me off. Overall it was a fine movie. But can someone please explain why she ran away in the last scene, like out of no where too. The credits were messed too, with the 2 women yelling at each other, it was just pointless. If this movie had better explanation of what in the world is going on, I would had enjoyed it more. I have to compliment the acting though, it was well done. Also, some of the scenes were just way to extended. This movie is worth watching. Great morality and has deep meaning, but it still could have been done a lot better, especially when your showing tragedy in the middle east.

It would be easy to misunderstand or even miss the whole point of this movie. But if you can get past the endless opening scene of a sobbing Natalie Portman, by the end Gitai has explored three characters (with great acting performances), three women from different cultures, and three countries. I don't want to give away the end, but Gitai has managed to make a point about Israelis, Palestinians and, after some thought about his set-up of the character, especially Americans. This makes some of the slower, strained parts of the movie better, even makes them seem to fit together nicely. My grade might be a tad high, but it's rare when any movie maker pulls off character, acting, politics, and characters that well represent their different societies. For that, this movie gets a lot of credit.

Motion Pictures are not one, but many genres. There are films poised solely to entertain, others to politicize, and yet others are art.

FREE ZONE is art in a film format. Just as most art, it relies more on senses, feelings, aesthetics, and perceptions. Unfortunately, for the unimaginative and unengaged, it can sometimes be unintelligible.

The film begins with a very long close-up shot of a beautiful young woman (Natalie Portman) copiously crying in the back seat of a car, to the Jewish children's rhyme "Had Gadia". The powerful arrangement in crescendos adds pathos to the girl's exteriorization of heart-felt anguish, and the seamlessly-never-ending stories of increasing consequences and characters (sung in Hebrew but appropriately subtitled) add confusion and exasperation. The sense of utter discomfiture is only compounded by the audience's utmost ignorance of the character, her surroundings, and her motivations. Her despair is our despair, but we, much as she also seems, are lost.

Slowly we learn she is parked by the Kotel, or Wailing Wall, in Jerusalem. We also learn she has just fought with her would-be mother-in-law and broken off her engagement to her Spanish-Israeli fiancé. Thus her personal loss becomes the middle-eastern mourning, and her very personal suffering symbolizes the tears and hopelessness of whole peoples and an entire land.

Immediately one is faced with a choice. To watch the rest of the movie as a narrative, or to perceive the allegory it propounds. To choose the first is to misunderstand it entirely, and miss on the powerful images and senses.

Rebecca (Natalie Portman) is an American who struggles aimlessly through life without a clear sense of identity. Her father is Jewish, but she carries little or no pride in her heritage, ignorant even of her status as a Jew (or not). She feels uneasy in her American home, and in a search for an identity that suits her, she acquires (and loses) a fiancé and a home in Israel. How she reacts to the landscape (so extensively shot, in exquisite details) and to the people (diverse, albeit through quick and superficial contacts) symbolizes the author's perception of the American (as in people or nation) own sense of identity and appreciation of the Middle East.

She joins Hannah (Hanna Laslo), a Russian-Israeli middle-aged woman whose life stories unfold piecemeal as a symbolical-historical window on the Israeli nation, on a trip to the Jordanian free trade zone on a mission for personal and familial financial salvation. Her determination and her biases (often even callousness) are obviously shaped by her pressing needs and her clear life trajectory, as evidenced by the unusually thorough (as opposed to the other characters) exposition of her past. Her reactions to her American travel mate, the obstacles in her quest, and the eventual Palestinian they meet clearly embody the Israeli national persona, dreams, fears, and strengths.

The Palestinian our heroes meet is Leila (Hiam Abbass), whose family present as Hannah's possible salvation (as in the money her husband owes her) or damnation (as in the fall-out from the misguided actions of her rebellious and contentious son). Torn between her loyalties to her own family and her duties toward this Jewish woman, she joins the other women in their quest for redemption.

The women allegorize their respective nations. And yet, their struggles are very personal and transcend national identities and interests. The combination of the three, and how they interact amongst themselves to work out their individual travails, masterfully conveys the powerful emotions in the confluence of tribes, nations, countries, and religions in this most convoluted region. The attention to the national frontiers (what role they play in segregating these peoples) juxtaposed to the more promiscuous exchange amongst the actual peoples (their representational counterparts in the characters) is quite fascinating.

The narrative is non linear, relying mostly on feelings and emotions. The filmography is untraditional (a lot of hand-held camera movements, as if the audience is privy to the story, watching a family road trip video) and experimental (long and confusing, yet dramatic, layering of images and back-plots, creating familiarity with back stories, yet maintaining distance thru the lack of clear focus or images). The plot is mostly allegorical, therefore characters are not really introduced and developed as they are thrust upon the audience (with the implication that one already knows them, or who they represent), played out in short pericopes and less of an overarching story.

The film is beautiful and insightful. If you prefer mass produced Hollywoodean one-size-fit-all entertainment, this is not the movie for you.

The current situation in the Gaza Strip makes a movie like Amos Gitai's "Free Zone" all the more important. The movie depicts a US tourist (Natalie Portman) accompanying an Israeli woman (Hanna Laszlo) to Jordan to collect a sum of money. Complications arise.

The movie apparently received negative reviews. I suspect that was because of the long, slow scenes. I will admit that these got tiresome at times. Even so, this is probably one of the few instances that we'll get to see a portrayal of a meeting between a Yank, an Israeli, and a Palestinian. Portman's character serves as the window into the conflict. Think of her as a camera, showing us all but processing nothing; she even admits that she doesn't feel like she belongs anywhere.

I understand that this was the second entry in a trilogy that Gitai made. I'll have to see the first and third entries. Anyway, it's not a masterpiece - it does tend to drag - but the ongoing situation in Gaza makes it all the more relevant.

Also starring is Hiam Abbass, who more recently played Marcia on "Succession".

My 7 vote was for the filming, direction, and plot. For the informative value of the film, I would give it a 9. It was a bravely balanced portrayal and helped personalize my understanding of the how the structure of the conflict militates against the urge to empathize when face-to-face. It is heartrending watching antipathy being replaced with empathy and mutual assistance even while the regional conflicts continually compel opposing sides toward distrust and attack. Seeing the way the many groups are living in constant fear of lethal attacks has become the norm is heartbreaking. Each side continuing to live with a hollow hope for resolution and peace is awesome and somewhat offsets the massive human tragedy. While typical of human social psychology, it is still sad to see that even clashes within affiliates can lead to incendiary outbursts. The final scene is a terrific metaphor for the complex, dire configuration of the plight of the individual people, the American, Israeli, Palestinian, and all others in the region. Portman is to be commended for her taking the role of Rebecca in a movie that was sure to receive little acclaim.