Waltz with Bashir begins with him, now an established writer and director, confiding to a friend a recurring nightmare in which he is chased by savage dogs. Folman’s innovation was to use them as the apocalypse of a more personal narrative based on his own experiences as a draftee. Those massacres are hardly unknown indeed, they were declared acts of genocide by the United Nations General Assembly in December 1982 and led to Ariel Sharon’s dismissal from the post of defense minister. Still, the highlight of this year’s Cannes Film Festival, for me as for many of the assembled pen-pushers, was Waltz with Bashir.ĭirected by Ari Folman, it’s an animated documentary about the massacres that took place at the Sabra and Shatila refugee camps in 1982. Between the early starts and the five-hour cine-essays about ethnic abjection or industrial ruin, it’s easy to get jaded. Courtesy Bridget Folman Film Gangįilm festivals, where screenings begin at 8:30am to the groggy, jet-lagged dismay of critics, are not always the best places to debut a film.
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