Lemale et ha'halal

As a watcher of many movies I often find myself bored at watching the same tired clichés recycled over and over and packaged as original movies.

Thats why i was refreshed to watch this movie- a film that has an original story and gives us a look at a different world.

I found the casting to be excellent. The male lead was strong & handsome and inhabited his role with controlled emotion and dignity. The female lead was beautiful in an innocent way and her demure manner and emotional expressions were well suited for her role.

Well done & thanks for a good film experience!

Gets _way_ further inside the world of the "Orthodox Jew" than anything I've ever even heard about before. The director and some of the actors really are Orthodox, so the portrayals of both home life and ceremonies that are seldom photographed are truly accurate, not just informed guesses. Yet this is not an "ethnographic record", it's a feature film. And the cinematography is excellent, about as far from an "amateur home movie" as you could possibly get.

The glass-half-full description is "a character study" - the glass-half-empty description is "slow boiler". Those prone to getting fidgety will probably be tested beyond their endurance. The psychological nuances aren't trivial - this film is the official submission of Israel to the Best Foreign Language Film for the Academy Awards.

The treatment of women looks "old-fashioned" to us: separate rooms, hair covering, emergency health care workers restricted if they might see something they normally wouldn't ...all the horror stories we've heard. This deeper look though shows us the considerable adaptation and flexibility around those rules-- architecture modified so those separate rooms aren't all that separate, a spinster covering her hair on the advice of her rebbe even though she'd never been married so people wouldn't ask so many awkward questions, the wife controlling the money in a rebbe's household, arranging clandestine peeks at potential mates via cellphone. The clumps of women standing in doorways reminded me powerfully of the clumps of servants in those Manor House period piece films like Gosford Park. The blocking of access to females in physical distress reminds me of stories out of Saudi Arabia. And the photo I saw later of a "fashion designer" Muslim hair covering looked so much like what these Orthodox women wear I did a double-take.

No easy answers, no "good guys" and "bad guys". There are both pros and cons. Downsides include difficulty finding a marriage partner, great difficulty keeping widows and widowers within the community, birth defects apparently from genetic inbreeding, and almost complete loss of input into the direction of the surrounding society/economy. Upsides include very strong support from both family and friends, and unparalleled community closeness. Where else do non-relatives easily call other adults by their pet names when the going gets rough? And how often do family friends feel free to proffer a word of contrary advice at any time? And although someone's decision to move away is often somewhat painful to others, where else would people literally rather die?

Beforehand I was ready to keep my distance and laugh at "those silly people". But watching it I realized the film applies equally well to _all_ communities that are "in the world but not of the world": fundamentalist Christians; even hippies who've resigned themselves to having zero political influence. There's a whole lot of space in the middle on the line with "modern society" on one end and "a cult" on the other end. Although on the surface this film is about a particular world that's about as familiar to me as living on Mars, the deeper story of gaining community but losing interaction with the surrounding society/economy still has me ruminating days later.

Israel's official entry to the Oscars this year is probably too minimalistic and low-key to make it to the final five, but it's a film well worth watching and is in fact one of the best films I've seen so far emerge from the growing Israeli cinema. Fill the Void is of particular interest to Israeli viewers because it's a rare window into the very closed-community lifestyle of the Orthodox Jews, giving very rare insight as the film was made by an Orthodox director but with a secular audience in mind, which is something never seen before. For foreign viewers too, it may be a fascinating glimpse into an anachronistic, static religious community that hardly ever opens itself up like this to the general public.

Cinematically, Fill the Void is startlingly minimalistic; the story is a very brief glimpse into a very simple lifestyle. The gorgeous cinematography compliments that, constantly focusing on the contrast between Hadas Yaron's white face, the black clothing and the gray-brown backgrounds, but with a soft focus that makes it very easy to get lost inside. The cinematography itself is so aesthetic that it often conceals just how simple the story and the characters are - the film revolves around one moral question without giving too much insight into the thought processes of any of the characters. Its real achievement however is in enabling the viewer to be immersed in the environment and the lifestyle of a culture so different from what we're used to, and in that sense it's a triumph.

Over the last dozen or so years, no less than seven films have been made about the orthodox religious community in Israel. These films are:

Forbidden Love (1999); Kadosh (1999); Bat Kol (Inner Voice) (2002); Ushpizin (2004); My Father, My Lord (2007); The Secrets (2007); Eyes Wide Open (2009).

All these films were made by non-religious or at least non-orthodox film makers, and then along came Fill the Void. Its director and scriptwriter, Rama Burshtein, is an orthodox woman who is also a film maker.

Which raises the question whether this new film is more authentic than the previous ones, whether it portrays the orthodox community more faithfully. It should be understood that the orthodox communities in Israel are tightly-knit units, abhorring the outside, modern Western way of life which they perceive as decadent, immoral and corruptive. They still dress as did their ancestors in the Shtetl in Eastern Europe centuries ago, talk mostly Yiddish among themselves and of course, inter-marry only within their milieu.

Fill the Void is indeed about this latter issue, the question of marriage. The questions raised by the protagonists may seem quaint and even amusing to us, but seem of paramount importance to them, as if no other issues occupy their closed life.

This reviewer has no way of assessing the veracity of the facts and can only rely on subjective impressions. The film "rings true", feels true, and the fact that some of the actors come from a religious background adds to the feeling. Viewers might sneer at the seemingly irrelevant questions facing those "strange" people, but the acting convincingly conveys the sentiment that we are indeed dealing with a grave situation.

I came out of the theater thinking not about the heroine, blandly played by Hila Feldman, or about the way she handles her private demons and dilemmas, but about the strange, foreign, incomprehensible community living not a mile away from my house in the same city, yet separated from me by an unbridgeable chasm.

A disturbing movie.

One reason to view FILL THE VOID, written and directed by Rama Burshtein, is the opportunity to view the clothing, the mannerisms, the singing (endless), and the other unique characteristics of Israel's ultra-Orthodox Hasidic community. For those who have never witness this spectrum of Judaism it is an eye-opening experience: religious law, tradition and the rabbi's word are absolute. Marriages are arranged and a woman's outside options are limited, as marriage is a central and crucial moment in their lives. Matches are arranged, decisions about whom to marry are critically important, but apparently the woman always has the right to turn down a prospective suitor. Of importance to note, Rama Burshtein comes form this community and her understanding of all the permutations is obvious.

Shira (Hadas Yaron), a devout 18-year-old Israeli, has come of age and is considering marriage, having met her first serious suitor Yossi (Ido Samuel). Shira's eldest sister Esther (Renana Raz) suddenly dies in childbirth leaving her grieving husband Yochay (the very handsome and talented Yiftach Klein) with a son and no mother to care for the infant. Despite his grief (and the grief of Shira's parents - Irit Sheleg and Chayim Sharir) Yochay decides he must marry. Shira's other sister Frieda (Hila Feldman) declares that Esther had informed her that should anything happen to Esther, Frieda should marry Yochay. Shira's mother, afraid that Yochay will take the offer from a Belgium woman to marry and thus move away with her grandson from Tel Aviv, encourages Shira to marry Yochay. Shira is conflicted, gains support from her armless unmarried aunt Hanna (Razia Israeli) who knows that in this community a woman MUST be married, and after much discussion among the Rabbi (Melech Thal) and the family and Yochay and Shira, a conversation between the couple seals their fate.

The acting is excellent, the cinematography often times seems flooded with light and slightly out of focus as if taken through layers of wedding veils (!), the costumes are amazing even they are the usual dress mode of this Hassidic community, and the attention to detail of such moments as Purim and Shabbat are immaculate. The seemingly endless amount of singing by the men does grow a bit wearisome and covers dialogue at times, but this is a fresh and fascinating view of love, traditions, and laws and the still viable personal choices in this colorful community. In Hebrew with English subtitles.

Grady Harp