text: This is arguably the best film director Haim Bouzaglo made until now. A skilled TV director, well-trained in story-telling and in directing his actors through long epics he tried to catch in this very low-budget film the essence of the very special psychological situation the Israelis live though under the permanent danger of the terror attacks, resulting in 'distorted' lives. Each character trying to live his own life, to watch and control the other, while being himself watched and controlled by other characters and mostly by the continuous pressure, by political and historical forces well beyond his control. Some call this destiny, but destiny has a very concrete representation in this film.<br /><br />There is no explicit political saying in 'Distortion'. Characters never discuss politics, not even at the level of saying 'bastards!' when they hear that a new terror attack happens. Their reaction to events is to localize the attack and to count the victims using the official and media terminology for the dead and the wounded. They do not really live but rather survive on borrowed time happy to have survived one bomb, and waiting for the next one to happen. Personal, social, professional life seems to work someway, but is deeply flawed and influenced by events. The main character played by the director is a playwright whose mid-life personal and creative crisis is amplified by the pressure of the events and by the fact that he is lucky enough to leave a terror attack site minutes before the bomb explodes. He hires a private detective to follow his girlfriend who is a TV investigative reporter whom he suspects is falling in for the subject of her next show - another failed man, former military, whose business and family life dismantles under the events. He starts to write a play that carbon-copies the reality and will bring it to the stage, in theater in film scene that reminds Hamlet as well as 'Synecdoche, New York'. It's not that I would dare suspect Charlie Kaufman looking over the shoulder of Bouzaglo, he certainly needs not that, but the Israeli director screen is brilliant into anticipating the later film (and the first directed by Kaufman). As in the American film actors play real persons and start interacting with them in an reality-meets-stage-meets-reality melange which never lacks logic, at least not artistic logic.<br /><br />Bouzaglo directs his actors with the usual talent, trusts them and allows them the freedom of living through the situations rather then acting them. His style is much more free here than in his TV series, and the 'distortion' effects, although borrowed from American horror movies work pretty well all over. The ending seemed to me a little rhetorical and unsatisfying dramatically, but the shade of the suicidal killer who is haunting the film and the whole situation in a temporal loop will also follow the viewer when remembering later this film.
query: This is arguably the best film director H
gen_review: aim Bouzaglo made until now. A skilled TV director, well-trained in story-telling and in directing his actors through long epics he tried to catch in this very low-budget film the essence of the very special psychological situation the Israelis live though under the permanent danger of the terror attacks, resulting in 'distorted' lives. Each character trying to live his own life, to watch and control the other, while being himself watched and controlled by other characters and mostly by the continuous pressure, by political and historical forces well beyond his control. Some call this destiny, but destiny has a very concrete representation in this film.<br /><br />There is no explicit political saying in 'Distortion'. Characters never discuss politics, not even at the level of saying 'bastards!' when they hear that a new terror attack happens. Their reaction to events is to localize the attack and to count the victims using the official and media terminology for the dead and the wounded. They do not really live but rather survive on borrowed time happy to have survived one bomb, and waiting for the next one to happen. Personal, social, professional life seems to work someway, but is deeply flawed and influenced by events. The main character played by the director is a playwright whose mid-life personal and creative crisis is amplified by the pressure of the events and by the fact that he is lucky enough to leave a terror attack site minutes before the bomb explodes. He hires a private detective to follow his girlfriend who is a TV investigative reporter whom he suspects is falling in for the subject of her next show - another failed man, former military, whose business and family life dismantles under the events. He starts to write a play that carbon-copies the reality and will bring it to the stage, in theater in film scene that reminds Hamlet as well as 'Synecdoche, New York'. It's not that I would dare suspect Charlie Kaufman looking over the shoulder of Bouzaglo, he certainly needs not that, but the Israeli director screen is brilliant into anticipating the later film (and the first directed by Kaufman). As in the American film actors play real persons and start interacting with them in an reality-meets-stage-meets-reality melange which never lacks logic, at least not artistic logic.<br /><br />Bouzaglo directs his actors with the usual talent, trusts them and allows them the freedom of living through the situations rather then acting them. His style is much more free here than in his TV series, and the 'distortion' effects, although borrowed from American horror movies work pretty well all over. The ending seemed to me a little rhetorical and unsatisfying dramatically, but the shade of the suicidal killer who is haunting the film and the whole situation in a temporal loop will also follow the viewer when remembering later this film.
reference_response:  aim Bouzaglo made until now. A skilled TV director, well-trained in story-telling and in directing his actors through long epics he tried to catch in this very low-budget film the essence of the very special psychological situation the Israelis live though under the permanent danger of the terror attacks, resulting in 'distorted' lives. Each character trying to live his own life, to watch and control the other, while being himself watched and controlled by other characters and mostly by the continuous pressure, by political and historical forces well beyond his control. Some call this destiny, but destiny has a very concrete representation in this film.<br /><br />There is no explicit political saying in 'Distortion'. Characters never discuss politics, not even at the level of saying 'bastards!' when they hear that a new terror attack happens. Their reaction to events is to localize the attack and to count the victims using the official and media terminology for the dead and the wounded. They do not really live but rather survive on borrowed time happy to have survived one bomb, and waiting for the next one to happen. Personal, social, professional life seems to work someway, but is deeply flawed and influenced by events. The main character played by the director is a playwright whose mid-life personal and creative crisis is amplified by the pressure of the events and by the fact that he is lucky enough to leave a terror attack site minutes before the bomb explodes. He hires a private detective to follow his girlfriend who is a TV investigative reporter whom he suspects is falling in for the subject of her next show - another failed man, former military, whose business and family life dismantles under the events. He starts to write a play that carbon-copies the reality and will bring it to the stage, in theater in film scene that reminds Hamlet as well as 'Synecdoche, New York'. It's not that I would dare suspect Charlie Kaufman looking over the shoulder of Bouzaglo, he certainly needs not that, but the Israeli director screen is brilliant into anticipating the later film (and the first directed by Kaufman). As in the American film actors play real persons and start interacting with them in an reality-meets-stage-meets-reality melange which never lacks logic, at least not artistic logic.<br /><br />Bouzaglo directs his actors with the usual talent, trusts them and allows them the freedom of living through the situations rather then acting them. His style is much more free here than in his TV series, and the 'distortion' effects, although borrowed from American horror movies work pretty well all over. The ending seemed to me a little rhetorical and unsatisfying dramatically, but the shade of the suicidal killer who is haunting the film and the whole situation in a temporal loop will also follow the viewer when remembering later this film.<|endoftext|>
query_reference_response: This is arguably the best film director H aim Bouzaglo made until now. A skilled TV director, well-trained in story-telling and in directing his actors through long epics he tried to catch in this very low-budget film the essence of the very special psychological situation the Israelis live though under the permanent danger of the terror attacks, resulting in 'distorted' lives. Each character trying to live his own life, to watch and control the other, while being himself watched and controlled by other characters and mostly by the continuous pressure, by political and historical forces well beyond his control. Some call this destiny, but destiny has a very concrete representation in this film.<br /><br />There is no explicit political saying in 'Distortion'. Characters never discuss politics, not even at the level of saying 'bastards!' when they hear that a new terror attack happens. Their reaction to events is to localize the attack and to count the victims using the official and media terminology for the dead and the wounded. They do not really live but rather survive on borrowed time happy to have survived one bomb, and waiting for the next one to happen. Personal, social, professional life seems to work someway, but is deeply flawed and influenced by events. The main character played by the director is a playwright whose mid-life personal and creative crisis is amplified by the pressure of the events and by the fact that he is lucky enough to leave a terror attack site minutes before the bomb explodes. He hires a private detective to follow his girlfriend who is a TV investigative reporter whom he suspects is falling in for the subject of her next show - another failed man, former military, whose business and family life dismantles under the events. He starts to write a play that carbon-copies the reality and will bring it to the stage, in theater in film scene that reminds Hamlet as well as 'Synecdoche, New York'. It's not that I would dare suspect Charlie Kaufman looking over the shoulder of Bouzaglo, he certainly needs not that, but the Israeli director screen is brilliant into anticipating the later film (and the first directed by Kaufman). As in the American film actors play real persons and start interacting with them in an reality-meets-stage-meets-reality melange which never lacks logic, at least not artistic logic.<br /><br />Bouzaglo directs his actors with the usual talent, trusts them and allows them the freedom of living through the situations rather then acting them. His style is much more free here than in his TV series, and the 'distortion' effects, although borrowed from American horror movies work pretty well all over. The ending seemed to me a little rhetorical and unsatisfying dramatically, but the shade of the suicidal killer who is haunting the film and the whole situation in a temporal loop will also follow the viewer when remembering later this film.<|endoftext|>