Alila

An interesting innovation is the introduction of the cast by announcing the names as they appear on the screen. It heightens our interest in what is to follow and acquaints us with the sound of a different language.

The film gives us a glimpse of numerous facets of Israeli life-styles of a group of tenants occupying a run down apartment block. Broken marriages, kept women, illegal employment of immigrants, corruption and avoidance of army duties set the scene for a rather unhappy collection of people. Life is hard and unkind and the future is unpredictable.

The numerous characters in the film give convincing performances although the police investigator at headquarters, a woman with a raucous laugh, seemed to me a bit unreal. The hot sweaty atmosphere in stuffy rooms is well developed and the much prayed-for rain falls down in buckets.

Ezra and Mali have a son Eyali due for military service, but the lad rebels against the system. "The army stinks" he says. "This whole country stinks". Frustrated he wanders the streets in desperation. Ezra and Mali already divorced have a problem son on their hands.

Mali has a long time girl friend called Gabi. Gabi is not married. Gabi meets a stranger for sex in a rented room on a regular basis. He is much older and a bit of a mystery character. He insists that their meetings be kept an absolute secret. Of course, this gives the movie maker a great opportunity to throw in a few sex scenes both on the bed and under the shower.

Ezra contracts building jobs using Chinese immigrants. This flouts the law, but there are ways of circumventing the law when you have the appropriate neighbours. Leaky dwellings and corroded power boards add to the every day problems and simply provide some background to a not very strong story line.

On the whole well done, but not very exciting and one hopes that the excellent actors will be given better material to work with in the future. There is no direct terrorism in the film as we might expect but it is alluded to from time to time in conversation and we hear mention of it in radio broadcasts.

This is a fresh canvas over daily life in modern Israel depicted by several stories that intertwine within a chaotic apartment building where the main characters dwell. The plot of the movie is not exactly straightforward, but this a well-known feature in Gitai's films. Gitai is a keen observer of life in Israel, and that is what the film is all about. In this sense, the movie outstandingly captures the mayhem and chaos of life in southern Tel-Aviv through the stories of ordinary people. But, however absorbed they seem to be in their own problems and plights, they cannot detach themselves from "the situation", the euphemism Israelis use to denote the conflict with the Arabs. Thus, the personal troubles of the main characters are put into perspective when confronted with the larger picture of bombings and terrorism, as radio flashes remind the main characters what is going on in the outside world. Nevertheless, unless you appreciate all things Israeli, you won't find any particular appeal in this movie. This is definitely not a mainstream movie, although all actors perform remarkably well. Also, you have to be a native Hebrew speaker or you won't understand most of it. I could hardly understand 10% of the dialogs. Additionaly, some Oriental Mizrahi music in the background also adds up to raise the interest of the movie.

this is a film that tries to criticize Israel's public morality.It addresses several issues such as: fornication, racism, immigration,national pride and allegiance to state ideals.both female protagonists have sexual encounters that are outside the norm.The one ends up in grief and the other one is dismissed as insignificant.The Arabs receive pejorative characterizations many times through out the film.the Chinese immigrants sleep in a van they are entities that the state refuse to recognize but they serve as cheap labor for the Israeli civilians, they wonder around freely in the streets of tel-aviv and they don't get deported because of corruption of the police.The boy wants to flee from the army and seems to express a form of indignation towards it's country.Sporadically we are informed about various conflicts between Israeli-Palestinians, suicide attacks, political controversy, etc.Apparently for Gitai Israel is in a state of turmoil, THE OLD GODS ARE DEAD and the new ones are not yet present, in other words Israel is in a transitional state. Cinematically speaking some of the vignettes are interesting and some extremely clichéd and boring, some they last too much time especially some sex scenes.the acting overall is good.It is a pity because Gitai tried to achieve a social commentary towards his country and also to portray some dramatic tension and i think he was lame in both of them.But i recognize his noble intentions so i will give his next film a try if can get hold of it here in Greece.

OK, not all the acting was top-notch. Or maybe not understanding much Hebrew deprived me of some of the subtext (especially the policewoman). But a plot with little motion is very hard pull off successfully. And I think Gitai succeeds wonderfully. The plot in our lives usually moves no faster than this. Does that mean our lives are without meaning? I was five years old when I was in Tel-Aviv, and I remember it being beautiful and modern. This was a bit of a shock for me. But this is actually life almost everywhere, even in the US. Politics is mentioned only peripherally, leaving us to ponder on the actual lives of individuals. The people are real, and politics is still there and does affect people, no matter how much you want to ignore it. But the movie is still about people. And this is a beautiful portrayal of their lives. Every character has some sort of frustrated passion. I recommend this movie.

I'd like see someone from Israel comment on the policewoman. She has an unusual way of talking, a strange hairdo, and some important story significance. Does she represent a stereotype of an anti-Arab? Or is there some other comment the author wants to make?

Inevitably perhaps for a contemporary Israeli film, the ongoing conflict between Israelis and Palestinians looms over the lives of Alila's protagonists: in the film's opening scene, one of the main characters - a man of 18 or 19 - is on his way to an army barracks; several times during the film we overhear reports of suicide attacks on a radio in the background. But for most of the film, we're more occupied with the personal lives of the protagonists, whose problems (why do I keep seeing this person? why doesn't my ex-spouse just leave me alone?) are more universal.

And, on the whole, these people's lives keep us reasonably well entertained for 2 hours. They're an interesting enough bunch and the cast is consistently strong. But for me, the film is ultimately let down by its script: the dialogues are flat at times, the protagonists rarely get the chance to show more than one side of their character, and - despite showing us all manner of human folly - the tone is a bit heavy side. A film worth seeing, but no masterpiece.