‘Yes’ Review: Nadav Lapid’s Blistering Attack on Israeli Nationalism is an Effectively Blunt Instrument

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In his latest feature film, “Yes,” Nadav Lapid doesn’t hold back on his criticism of the Israeli government following October 7, 2023 events. Known for his outspokenness and fiery films like “Synonyms” (2019) and “Ahed’s Knee” (2021), Lapid’s new work is a fierce condemnation of the state, channeling its rage through an immoral, self-degrading musician character. This musician is tasked with creating a jubilant national anthem that celebrates the destruction of Palestine. “Yes” is a satirical and energetic film, filled with despair yet exuberance, subtle as a sledgehammer in its portrayal of the ruling classes and their followers. It’s both absurdly funny and seriously critical, a blend of comedic farce and intense political commentary. The film is as heavy as any movie that includes an extended dance break to “The Ketchup Song” can be.

After “Ahed’s Knee” won the jury prize at Cannes and was screened outside the festival’s main selection during Directors’ Fortnight, some have raised questions about the programming decision given the film’s provocative and timely nature. Due to its divisive nature and unique tone and style, many arthouse distributors might not pick up “Yes.” However, this film was not created with the intention of gaining approval or awards from any specific group. Instead, it reflects the immediate, unfiltered reaction of a filmmaker to urgent atrocities that demand an untactful and unsophisticated response.

In an intriguing blend of melancholic restraint and energetic exuberance, the talented Ariel Bronz portrays our enigmatic protagonist Y (similar to the lead character in “Ahed’s Knee”), a pianist and performer. This individual is introduced amidst a frenetically coordinated Eurodance performance, where he engages in unusual acts such as kissing a baguette, submerging his head into a punch bowl, playing bobbing games with cherry tomatoes in a swimming pool, and passionately dancing with partner Yasmine (Efrat Dor). It is later revealed that she is not only his dance partner but also his wife. Together, they entertain high-society elites in Tel Aviv by performing such eccentric shows at private events.

In the movie, referred to as “The Good Life,” it’s unclear if a dance-off with Israeli military leaders, which often takes place, is an official part of the routine or not. However, Yasmine frequently urges her husband to let them win, hoping they can increase their income by performing a three-way sex act for a lively older client in a large mansion adorned with the preserved heads of her ancestors. The question arises as to who exactly benefits from this “Good Life,” though it’s clear that it may not be everyone involved.

During the day, Y and Yasmine reside in a humble city apartment with their infant son, where they both pursue careers as a musician and hip-hop dance instructor. These are tough times for artists, so they take any job that comes their way to make ends meet. The name “Yes” appears to be a nod to the word that Y often finds himself saying, regardless of the impact on his morals and mental health. A significant opportunity arrives from a Russian oligarch (Aleksei Serebryakov, who recently played a similarly chilling character in “Anora”), who is connected with Israeli authorities. This individual asks Y to create music for what seems like a hymn celebrating the post-October 7 era. However, this isn’t your typical collection of patriotic phrases; instead, it consists of boastful lyrics about the destruction the Israeli army has inflicted on Gaza over the past 18 months: “In one year there will be nothing left living there/And we’ll return safely to our homes/We’ll annihilate them all/And return to plow our fields.

Instead of using biting satire, Lapid opts for bluntness that matches the harshness of contemporary times – at one point, Y literally and extravagantly licks his wealthy benefactor’s shiny knee-high boots. These gruesome verses initially appear to be a straightforward mockery of Israeli nationalism at its most brutal. However, a shocking revelation unfolds: these lyrics aren’t created by the director but are actually from a genuine composition by the anti-Palestinian activist group Civic Front. Moreover, a striking music video featuring this song is also authentic, where it’s sung by a choir of innocent-looking children dressed in white robes, their faces modified by AI. While it might not be state-sponsored propaganda, it reflects the intensity and extremity of a dangerous political climate that can be challenging to satirize due to its excessive nature.

Following the chaotic and disorienting events of the first act, the second, titled “The Path,” brings a more somber aftermath. Character Y, having dyed his hair, adorned in unusual velvet and snakeskin boots for the season, embarks on a solitary journey into the desert to compose a song. To fuel his dark inspiration, he approaches the Palestinian border, marked by a foreboding cloud of black smoke, where he encounters his former girlfriend Lea (Naama Preis), an employee of the Israeli Defense Forces who shares with him an extensive, bitter list of Hamas’ alleged atrocities against Israel. This seems to be her way of justifying the devastation they observe. Y, trying to keep his political views neutral, is unconvinced by this narrative; as he grapples with the persisting voices of Yasmine, who is increasingly repulsed by him, and his late mother’s critical anti-Zionist voice, he questions if he has agreed to one thing too many.

In the climactic third act, titled “The Night,” I find myself torn between conflicting feelings and duties, struggling to choose a definite path. However, the film, titled “Yes,” leaves no room for ambiguity – it loudly proclaims that remaining silent while Gaza continues to burn is unjustifiable and unsustainable. Some viewers might see this movie as preachy or repetitive, but its intent is clear: It’s a passionate plea, brimming with Lapid’s signature energy, although not as poetic as “Synonyms” nor as thought-provoking as “Ahed’s Knee.” This film is more about making a bold statement than creating a work of art. Instead, it demands that its supporters speak up just as loudly and forcefully as possible, to make any hope of being heard above the deafening sounds of war a reality.

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2025-05-23 23:46