Mon trésor

Great movie. Shows the maturity of Israeli cinema. If you're looking for a happy ending or Hollywood romance, don't bother watching this film. If you are looking for something deeper than that, you'll be fascinated throughout the movie. It's difficult to watch, but it's not difficult to follow. The director keeps your attention throughout the film. Veteran Israeli actor Ivgy's daughter is amazing in the role of Or, the daughter of a prostitute, played by the superb Ronit Alqabetz. Look out for Alqabetz in other great Israeli movies, like Late Marriage ("Mariage Tardif" in French). This is stark realism at its best. The moral message is powerful, but nuanced. Ruthie (the mother) comes across very much as much a victim of her own choices.

Or adeptly portrays the subjugation of both men and women to a misogynist culture, exposing the entrapment of violation and the many marks it leaves on women's bodies, the compulsion to move toward further violence, and men's complicity in this degradation of the body -- their own and women's. An heir to the works of important feminist thinkers (Andrea Dworkin, Susan Griffin, Adrienne Rich), this film pulls the viewer gently into an unabsorbable tirade and presents the question of the futility of human relations. Suffocating and bleak, set against an otherwise fairly banal landscape (and herein lies its strength), it doesn't shirk from exposing the underlay of the socially sanctioned pathology of male sexuality. In its insistent questioning, the film takes the viewer deep into the unresolvable, avoiding easy answers. The problem presented is devastating and Yedaya commits the viewer to sitting with their own unease, to touch, as it were, the very body of the film and face their own complicity in this unpardonable scheme.

I first saw Ronit Elkabetz in The Band's Visit, and then in Late Marriage. She was fantastic in both and really captivated me. I am so glad I saw her in films where she was appealing before I saw this. Here, she is an aging, drug-addicted prostitute, who is being cared for by her teen daughter Or (Dana Ivgy). It is classic role reversal, and it is not very pretty.

It means Or works late at night, collects anything that can be sold, and cares for her mother like she was a child. All to keep her off the streets. School becomes a hit or miss thing as she spends time collecting bottles. It is a day-to-day battle.

While Or is trying to save her mother she is being used as a sexual receptacle by everyone. She finally ends up getting paid for it rather than just giving it away. All to no avail as her mother continues to hit the streets.

Ivgy and Elkabetz were outstanding in this sad slice of life.

Get ready for a raw, gritty look at prostitution and how some end up there. While the plot is uncomplicated, the film is unrelenting -- you won't crack so much as a smile; no humor whatsoever here. The story of a prostitute and her teenage daughter is powerfully told. The daughter, predictably, runs the household and has to mother the hopelessly irresponsible mother. They barely get by with the help of the neighbors, who are also the owners of a diner where the daughter works part-time. It's a slice-of-life drama that, while it takes place in Israel, could easily take place anywhere where low expectations meet low self-esteem. Be warned: It doesn't leave you upon leaving the theater.

To be perfectly honest, I found it more than slightly perplexing that an Israeli film, in Hebrew, is titled in the IMDb in its French title (in Hebrew, it's titled "Or", a semi-common name meaning "light). The film received impressive accolades at Cannes festival which may explain why France is a major market for this film.

"Or" (Dana Ivgy in a mesmerizing performance) is a teenager that spends the better part of her days on taking care of her mother, Ruthie (Ronit Elkabetz in an equally gut wrenching performance). Ruthie is a recovering (with varying levels of success) drug addict and barely adequate to take care of herself, let alone, support a family. That task is entirely in Or's responsibility and her odd jobs interfere with her educational agenda (which will turn out to be the least of her worries).

What Or is deprived in parenting, she compensates by casual flings with boys who, more often than not, exploit her good nature and a need to be loved for, well, you all know what men want.

Surprisingly enough, despite the harshness of Or's existence, she is a jubilant girl with a very strong bond with her mother and even manages to conduct a border line Friendship/Romance with a pensive classmate, Ido (Nesher Cohen).

Unfortunately (read: inevitably), old demons from the past threaten to shatter the already fragile family and when dubious character's appear on Or and her mother's dilapidating apartment, aided with the outright disapproval of Ido's family to his relationship with Or, the harsh existence calls for cutting corners solutions with devastating effects (which I can't reveal).

This movie is a minimalist movie with no camera movements, no voice over and no music of any kind. I believe it was meant to intensify the experience as opposed to refining it. If that was the objective of the director, it was accomplished fully largely to its raw direction and impressive acting. An objective that was compromised (or maybe unjustly low-prioritized) was depicting a subtle portrait of Or.

Subtlety is very rare commodity in this film. Extensive nudity, graphic sex scenes and other scenes that don't leave anything for imagination turn the already hard to absorb feature into a film that is profoundly gut wrenching but emotionally too disturbing to be enjoyed.

I should note, in the name of objectivity, that the extremely explicit nature of this film (a disturbing trait many Israeli films still hone) might not deter people with a less conservative standpoint than my own but even those of you who are less troubled by nudity, sex and blunt content in general, should expect a very difficult film to watch and for the privilege of a film pondered on long after the screening ends, one must prepare to pay for with a very unnerving viewing.

8 out of 10 in my FilmOmeter.