As a movie enthusiast with a penchant for films that delve into the complexities of human conflict, I must admit that “Why War” left me somewhat underwhelmed. While Amos Gitai’s intentions are undoubtedly noble, the film seems to grapple more with the abstract notion of war rather than the specific, nuanced realities of the Israel-Palestine conflict.
Title “Why War” represents both Amos Gitai’s latest work and a question that has long intrigued the director. He attempts to address this question in pieces such as “A Letter to a Friend in Gaza” and “West of the Jordan River”. However, instead of a straightforward response, the film delves into themes of powerlessness, exasperation, and intellectual discourse amidst military strife. The movie is partially inspired by letters exchanged between Albert Einstein and Sigmund Freud, and presents an experimental, meta-fictional narrative. Although its visuals may seem tentative, they are far from purposeless.
The movie, titled “Why War,” by director Gitai, traverses dramatic reenactments of ancient battles such as the First Jewish-Roman War. However, his exploration becomes overly encompassing for the subject at hand. At the film’s onset, it showcases picturesque landscapes from Israel, artwork depicting the events of October 7, and numerous posters of Israeli captives with the well-known slogan: “Bring them home.” This contemporary context serves as a foundation for the film’s exploration of war. However, the film’s approach to this topic is occasionally too abstract for a piece that requires precision. (Leaving out images of the mentioned art installations would transform it into an entirely different production).
Initially, instead of immediately immersing himself in re-enactments of correspondence between Freud and Einstein, Gitai first focuses on actress Irène Jacob (who starred in his latest movie, the surreal drama “Shikun”), as she composes a letter to him. In her own words, she discusses (and vocalizes through narration) her sense of immobilization when witnessing war through television broadcasts. This narrative framework appears to be intended to elucidate Gitai’s own viewpoint on recent occurrences – one that, by its very nature, cannot fully engage.
The opening explanation or apology in this movie seems more like an apology as it unfolds. On one side, Mathieu Amalric delivers a captivating, contemplative portrayal of Freud that leaves audiences wishing for a biopic solely focused on him. However, Micha Lescot appears as Einstein wearing a poor-fitting wig and a smug grin, blowing smoke from a pipe while looking directly into the camera, reminiscent of a scene straight out of “Epic Rap Battles of History.” He barely speaks throughout the movie, but his questionable casting is ultimately justified. Despite this, his portrayal remains highly distracting given the gravity of the subject matter.
Regrettably, the content under consideration seldom delves into the subject of war beyond theoretical levels. The letters in question are primarily philosophical and general, which is not reflective of what a film about Israel and Palestine should be. Although Gitai’s repeated close-ups on Amalric serve as an excellent platform for his performance, Freud’s ideas about shared instincts and cultural interests have limited applicability as practical solutions to real-world problems. Ironically, addressing the concept of war in such a broad manner, instead of focusing on specific details, paradoxically oversimplifies asymmetrical conflicts, such as those that have arisen since October 7, with a disproportionate number of Palestinian deaths compared to Israelis. Gitai, despite his desire for a ceasefire in the broader conflict, inadvertently removes war from its complex psychological, gender, and cultural contexts, focusing instead on geographical, historical, and ideological aspects that drive these conflicts.
Throughout the movie, its mournful exploration of war’s essence manifests in various ways. This includes Jacob performing interpretive dance scenes, as well as filmed sequences of staged musical performances juxtaposed with video installations, much like Gitai’s dramatized “A Letter to a Friend in Gaza” production. If the film consistently adopts a powerless perspective towards war, it often doesn’t push beyond these limitations, resulting in a piece that communicates little through its dialogue and visuals.
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2024-09-03 19:49