AMERICA – Review

(L-R) Yotam (Ofri Biterman), Iris (Oshrat Ingedashet) and Eli (Michael Moshonov) in AMERICA. Photo credit: Beta Cinema. Courtesy of Menemsha Films

AMERICA, despite the title, is not set in the U.S. nor is it about America, Instead, it is a deeply human, moving, emotionally complex, intelligent Israeli drama an Israeli man who has lived in America for decades but returns after the death of his long-estranged father, to deal with the estate, and reconnects with some people from his past. Human relationships, and a different take on a love triangle, as the center of the fine drama/romance AMERICA, from the director of the international hit THE CAKEMAKER. Israeli writer/director Ofir Raul Graizer helmed both that excellent German drama and this new this Hebrew-language drama/romance, which feels like a kind of sequel in its similar emotional, poignant style.

AMERICA centers on an Israeli-born man, Eli (Michael Moshonov), who has lived in Chicago for ten years, since leaving Israel as a teenager. A one-time swimming champion, Eli now has made a life for himself in America as a swimming instructor, with no intention to even return to Israel, even changing his name to leave his past behind, But Eli is reluctantly compelled to return to Israel, in order to sort out the estate of his late father, from whom he was long estranged. The swimmer only intends to stay long enough to sell his father’s house in Tel Aviv and therefore settle the estate.

At his old house, Eli runs into an old neighbor by chance, Moti (Moni Moshonov), who is very glad to see him. The swimming instruction is pleased as well to see Moti, who was kind and even a kind of father-figure to Eli as a boy after his mother died and the boy struggled in his difficult relationship with his police chief father. The chance meeting leads Eli to reconnect with Moti’s son Yotam (Ofri Biterman), a childhood friend who shared his love of swimming, and to meet his friend’s fiancee, Iris (Oshrat Ingedashet), who has a flower shop in Jaffa which she runs with Yotam. Yotam no longer swims but helps Iris run her flower shop. Iris is estranged from her strict Moroccan family, much like Eli is estranged from his.

We catch a frisson of attraction between Eli and Iris but of course neither acts on it because of Yotam. A tragic accident changes everybody’s plans, creating a complicated situation for everyone.

Director Graizer uses beautiful, evocative locations and settings to deepen scenes and add to character. The flower shop that Iris runs is crowded with colorful blooms and green foliage, offering a lush, even sensual, setting around which much of the drama unfolds. It seems to symbolize life, and the setting particularly wrapping Iris in beauty and vibrant life. In one scene, the old friends drive out to remote location, a favorite swimming hole of their youth, and take a long trek through difficult, dry terrain to arrive at a beautiful waterfall and idyllic pool of water beneath it.

Like THE CAKEMAKER, the story is layered with details that gives it the feel of reality, and the people in it are complex in the way real people are. That depth of detail and layered character makes the film intriguing as well as unpredictable. We can guess some things that happen but we never know when some new twist, some surprise – good or bad – is lurking around the next corner. The sense of reality unfolding gives the film a kind of tension but also makes the characters wholly believable. We can’t resist being drawn into the lives of these interesting people.

The fine script is further boosted by an excellent cast, who create people we like, even if we don’t understand everything about them. As the story unfolds, dilemmas arise and complex ethical choices face them. The characters are forced to make choices, where the right path isn’t always clear.

This excellent drama is a follow-up, in a way, to the director’s previous one, THE CAKE MAKER, a hit film that also had complicated people in complicated situations with a romantic theme, but people we pull for. The script in both these films is superb, as is the work of the cast. This is the kind of intelligent, human storytelling fans of serious drama long for, yet AMERICA, like its predecessor, also delivers as an entertaining film.

AMERICA opened Friday, July 4, in select theaters and expands to additional cities on Friday, August 2.

RATING: 4 out of 4 stars

HUESERA: THE BONE WOMAN – Review

Natalia Solian as Valeria, in HUESERA: THE BONE WOMAN. Photo Credit: Nur Rubio. Courtesy of Shudder

HUESERA: THE BONE WOMAN is a subtitled Mexican psychological thriller with dangling supernatural questions. It isn’t an easy film to watch but many will find the story and lead performance well worth the discomfort. Valeria (Natalia Solian) is a young wife eager to bear a child with her loving husband. She becomes pregnant early in the film, but nothing seems quite right about what should be making Valeria, her family and friends ecstatic.

Guilt over an unfortunate childhood left Valeria painfully insecure about her fitness for motherhood. That doubt is magnified by her mother and sister-in-law, who gleefully pound her with reminders of it at every opportunity. She starts having disturbing, surreal visions that could be signs of psychosis or something occult. Either way, her fears of maternal failure escalate greatly throughout the pregnancy. The only support and comfort she can find come from a kindly aunt with a circle (or perhaps coven) of mystical friends, and a former girlfriend, Octavia (Mayra Battala). Hubby is loving, patient and willing to be supportive but his effectiveness borders on the vestigial.

Most first-time parents experience at least some nagging concerns about whether they’ll be up to snuff. Valeria’s reaction to the pregnancy she craved ramps them up to panic levels. As we see what she sees, or at least thinks she sees, we wonder about her backstory, and from whence this terror comes. That includes learning whether an occult ritual (hence, the title) might provide a cure.

The tenor of the film, directed by Michelle Garza Cervera, is mostly that of looming menace from an unknown origin, real or imagined. The score consists of more unsettling sounds than music. Soft focus and dim lighting add to the eeriness of the presentation. We can’t be sure if we’re watching a ROSEMARY’S BABY, or a case study in schizophrenia. Or a combination of the two.

There are long stretches with little or no dialog, made compelling by one factor – Ms. Solian’s performance. Her expressive face carries most of the load, which is all the more impressive since it’s her first feature film, after only a handful of TV gigs.

I can’t mention more without spoilers but there will be plenty of fodder for discussion about a number of issues by the time the final credits roll. Patience is required, since it may seem longer than its 93 minutes but many will find the effort worthwhile, including what is likely an introduction to Ms. Solian and the bright future she should enjoy.

HUESERA: THE BONE WOMAN, in Spanish with English subtitles, will be available Video On Demand starting Thursday, Feb. 16, from XYZ Films.

RATING: 2.5 out of 4 stars