Mon fils

"Of course, I'm aware of the animosities destroying brain cells on both sides, and I know all about the obstinacy of the warring parties, their refusal to reach an agreement, their devotion to their own murderous hatred…." Yasmina Khadra, The Attack

Identity is indeed the heart of A Borrowed Identity about Palestinian boy, Ayed (Tawfeek Barhom), sent to a premiere boarding school in Jerusalem, but beset by prejudice against him and decisions about which culture he should embrace. This informative film is a crash course in cultural clash with enough character and interpersonal drama to satisfy the most discerning cinephile. Those who found The Attack an unforgettable interpretation of the conflict will have a similar reaction to this film.

From the early '80's nothing is going right for Palestinians: Israel dominates the split of the region while Hamas begins to retaliate. Meanwhile Ayed has the misfortune to fall in love with a Jew, Naomi (Daniel Kitsis), whose love will drive some of his basic decisions, like staying at the boarding school, and therefore his life.

The charm of this film is that it does not take sides, just empathizes with the protagonist, whose love is not only natural but also an emblem of the absurdity of cultural wars when one considers that it's really about people, whose loves cannot be controlled, and shouldn't be. Her mother would rather Naomi be "a lesbian, a drug addict, or has cancer" than be in love with an Arab.

The more time director Eran Riklis lets us spend with these Romeo- and-Juliet lovers, the more we are convinced the Arab-Israeli conflict is an absurdity born of historical hatreds that really shouldn't apply in the modern World. The tragedy is that Ayed must deal with the debilitating prejudice daily and make decisions on it rather than his natural love and brilliance.

But that conflict is what makes A Borrowed Identity such a watchable drama that gives more insight into that region of the world than all the Wikipedia articles touching on the Arab-Israeli conflict.

I am an Israeli. There will be no spoilers here. (And sorry for my spelling mistakes).. This is very good movie tries to show both sides from one persons view.... So it is very very real.. It shows that we are just the software someone puts into us... Which means software can change and your software is only valid were you are now... It is not Valid for the future nor in a different culture. This also shows how we judge people just because of their name appearance or religion!

Very very very good movie.

Actually that is not true, but it does have a premise that is easy to relate to and if you have the quality writing engage the viewer to be interested in the story. And this has the quality to pull it off. It's not an easy movie to watch, though that doesn't mean, we don't get lighter scenes too.

Of course the conflict is there and the characters have to deal with a history, that is so complex that one movie alone could not do justice to it all. You have to really engage this open minded and not blinded by one side and see one side as bad or worse than the other. This is a human story after all and it plays out like that. You really feel for the main characters and their struggle, something the movie is really adamant on showing the viewer ...

Eran Riklis in collaboration with gifted writer Sayed Kashua has brought to the screen a thoughtful and riveting film based on Kashua's 'Dancing Arabs'. Released in North America as 'A Borrowed Identity', it unfortunately is shown only in select art houses, to a limited audience. 'Borrowed Identity' has come on to the American scene at a time of racial and ethnic tension, which in the US context is a reflection of the strain in defining who and what a person is. Kashua's script is informed in the ongoing debate in Israel for its Arab citizens of what its means to be an Israeli, at a time of rabid Jewish nationalism: at a time when the degenerative Zionist elite dreams of expelling 20 percent of Israel's population, i.e., Arabs of the right of citizenship. 'A Borrowed Identity', in a Hegelian trope, in a rude dialectic informs us that the only way Eyad, a gifted Arab Israeli, can find complete fulfillment in Israel is to become a Jew by assuming the identity of Jonathan, his doppelganger, who dies after a long bout of muscular dystrophy, with the complicity of the deceased Israeli's mother. Riklis' film should strike a chord in America in the light of the Rachel Dozeal brouhaha, whereby a white woman passes as black. The connection is problematic? And the climate in the US is hardly welcoming for understanding the plight of Arab citizens of Israel, who, as it turns out, are 'les negres d' Israel'. There is nothing to fault in the probing eye of Riklis' camera. Yael Abecassis is as ever the embodiment of discernment as Jonathan's mother, the young Tawfeek Barhom has a shrewd understanding of the film's protagonist Eyad; he infuses his character with a delicate understanding of the transformation of what Hegel calls the alter ego and then becoming Jonathan. However the love angle is predictable, but creditable, and shows the limits of Israeli liberalism. Above all, the talents of Riklis and Kashua have produced a film worthy of prizes, which the hands of less talented artists would render 'Dancing Arabs' cartoon like if not soppy in sentimentality.

Before its release, this movie was given a subtitle. It's now "Dancing Arabs: A Borrowed Identity." Just as well. The only dancing I recall in the movie is dancing around the loaded issue of the Arab-Israeli conflict. The young protagonist is the only Arab in his school, and he makes friends with individuals while suffering discrimination in the broader social structure. It's no new observation that individuals from opposing groups can get along fine even as those groups as a whole seem to insist on remaining irreconcilable. The author of the story, Sayed Kashua, has been accepted by Jewish Israeli society while still identifying with the Arab community that is largely anti-Israeli, and the movie shows Arab hostility as counterproductive on the one hand while also showing the behavior of some Israeli Jews-- again, not so much individuals as groups-- as intolerant. According to Kashua, the movie is roughly autobiographical. With his books, along with a series of newspaper columns and a comical TV series about the stresses of being an Arab in Jewish-dominated Israeli society, Kashua won plaudits in Israel and this movie was set for a big opening when, as will happen, war with Gaza broke out. The opening was postponed for some months. At more or less the same time, Kashua received an opportunity to take up a temporary position in the USA and when he left Israel he declared glumly that he wasn't sure he would ever bother to return. So a pall is cast over the film, although the film itself is a good job from Eran Riklis, whose movies are often about individuals on a journey that helps them understand who they are.