slammed by Lebanon 'Lebanon'
(Republic, 21/09/2009) A film
biased, politicized, biased: the Lebanese press and blog shoot zero on Lebanon, the Samuel Maoz film won the Golden Lion at the Venice Film Festival.
"That film shows only the views of Israel," writes the correspondent in Italy of Lebanese daily 'An-Nahar', close to the government majority in Lebanon. "Show operation of self-defense where the other does not exist, where the enemy is hidden away, treated as a 'terrorist'." For the Beirut daily, "The film, as we expected, yields to the temptation to turn the killers into victims or almost ...", says the newspaper.
Maoz, in the film, relives his experience as a young Israeli soldier during the first Lebanon War of 1982, an experience that changed his life and now has a film projected onto a strong, tough. In 'Lebanon' war is seen by the target of an Israeli tank in which four young soldiers are being held without being able to actually see the horrors and massacres around them.
The Lebanese daily 'Al-Mustaqbal' spoke of the film as an attempt to erase 40 years of "Israeli aggression": "The public in Italy has been plagued for sufferings of those four soldiers ... And not for the victims of war, "said the Lebanese newspaper, that" the film only serves to show the supposed humanity of the Zionist state, which started the war 'against his will and' distressed '. "Duro also the newspaper 'Al-Akhbar' close to the Hezbollah movement: "Most people feel that a film against the war and then criticizes the conflict initiated by the Jewish state and its army, but in reality is in no way critical," wrote 'Al -Akhbar '.
Even the Lebanese blog came a chorus of criticism for a film aimed at "humanizing Israeli soldiers and Lebanese and Palestinian victims."' Lebanon ', as happened with 'Waltz with Bashir' (always on the Israeli-Lebanese war) will not be shown in Lebanon because Beirut authorities prohibit the spread of Israeli products.
Press
"Set all within a tank except for the first and the last shot, lightning, 'Lebanon' and almost a continuation by other means of 'Waltz with Bashir', the Ari Folman's masterpiece that changed the history of the cinema of war and the animation. (...) At first you think the films of submarines than once, but a moment. And if leaving the room and easy to rationalize because at the end of all war films speak of horrors name, power conflicts, war crimes, 'Lebanon' manages to combine great strength with two runs. That 'human', accentuated by the claustrophobia of the fund. And the most proper of war, with atrocities and abuses against civilians that left more and more light shed on the tangle of Israeli-Lebanese war. Even if the film's most touching scene is when a tank crewman recalls an episode from his childhood mixing sex and death, the excitement of a first time and the day when he lost his father. And it does so using only words. " (Fabio Ferzetti, 'Il Messaggero', 08 September 2009)
" How strange, how unimaginable war
la racconta Samuel Maoz, 47 anni di Tel Aviv, in 'Lebanon': al cinema non l'abbiamo mai vista così, neppure nel meraviglioso 'Valzer con Bashir', film di animazione onirico e poetico sull'episodio più orribile della stessa guerra, la strage di Shabra e Chatila (...) 'Lebanon' non ha una tesi politica, non è pro né contro Israele, vuole solo comunicare un'esperienza umana spaventosa, devastante per sempre." (Natalia Aspesi, 'la Repubblica', 08 settembre 2009)
"Soldati libanesi, terroristi, ma anche parecchi innocenti. I cineasti d'Israele (vedi 'Valzer con Bashir') non hanno paura a raccontare in cinema il lato sporco delle loro guerre. Io la vedo come un'espressione of freedom. But many, sitting next to me, just as an admission of guilt. " (Giorgio Carbone, 'Free', 08 September 2009)
" 'Lebanon' Samuel Maoz is not a masterpiece, but his message of peace can easily take on a jury too heterogeneous. (...) Filmed at all 'inside of the tank, marked by the deafening sounds of war and war machines, the film builds up the tension in parallel with the loss of contact with the outside world, making palpable the fear and the' anguish of those you find absolutely unprepared for war and death. 'Lebanon' could possibly trigger some more reflection on the conflicts in the Middle East and the script (del regista) ricorda molti altri film, da 'Uomini sul fondo' a 'Belva di guerra', ma il risultato e indubbiamente molto efficace e il suo messaggio pacifista va dritto al cuore dello spettatore." (Paolo Mereghetti, 'Corriere della Sera', 09 settembre 2009)
"'Lebanon' del debuttante israeliano Samuel Maoz. La cui aspra audacia consiste nel fatto che si svolge tutto all'interno di un carro armato, dove restano intrappolati quattro militari arruolati nella campagna dell'82 in Libano: la claustrofobia della situazione pare fatta apposta, nella sapiente architettura narrativa, per esasperare sino al diapason le nefandezze della guerra." ("Valerio Caprara, 'Il Mattino', September 9, 2009)
"The claustrophobic setting is a challenge, inform and impress, but it is invariably accompanied by evidence of a device is not tempered." (Silvio Danese, 'National Newspaper', 09 September 2009)
"The quarantasettenne director Samuel Maoz revives with 'Lebanon' (...) the dirty war that has experienced first-hand inside that tank. (. ..) The movie and the story likely than excited morning with the camera installed inside the tracked for an hour and a half and never moved outside. The only possible shots of the film are the first floors of the four Soldiers. videogame Or found the target in sight, camera movement enveloped by the annoying clang of the scrap metal, from mid-film forward even cracked lens after a rocket fired at the tank. A rigid and sobbing escape for the eye made up of gruesome and bloody detail, the only possible view and sets the horror of war. " (David Turrrini, 'Liberation', 09 September 2009)
" Same trauma, Maoz also like Ari Folman decides to recall 25 years after the nightmare of the war, when, twenty years old, killed for the first time. Instead of the cartoon, the director chooses a dreamlike vision, claustrophobic, introspective. And if 'Waltz with Bashir' claimed (unfortunately) a historical reconstruction, this begs the question. (...) Maoz move the crosshair inside your tank, the transfigured faces, dirty oil, lined with tears suffused with divine light. Acquitted for having disobeyed orders. Like this movie, "against the war," and the melodramatic aesthetic, unhappy about the state of the soldiers talking about mothers and teachers from the great tits, but Fuller and far. It remains an emotional cocktail that looks fine from where the Israeli censorship cordial "bad" and only a brute Christian Phalange (as in 'Waltz with Bashir'), which promises a prisoner in the hands of Syrian soldiers and frightening innocent cavargli 's eye with a spoon, cut off his penis and quartered, so they do not understand Arabic. We do because there are subtitles, but denied the Syrian, who vainly shouting his despair in the world. Samuel Maoz says he is still thinking about whether or not to add them in the final version. It will take another 25 years before you decide? " (Mariuccia Ciotti, 'Il Manifesto', 09 September 2009)
biased, politicized, biased: the Lebanese press and blog shoot zero on Lebanon, the Samuel Maoz film won the Golden Lion at the Venice Film Festival.
"That film shows only the views of Israel," writes the correspondent in Italy of Lebanese daily 'An-Nahar', close to the government majority in Lebanon. "Show operation of self-defense where the other does not exist, where the enemy is hidden away, treated as a 'terrorist'." For the Beirut daily, "The film, as we expected, yields to the temptation to turn the killers into victims or almost ...", says the newspaper. Maoz, in the film, relives his experience as a young Israeli soldier during the first Lebanon War of 1982, an experience that changed his life and now has a film projected onto a strong, tough. In 'Lebanon' war is seen by the target of an Israeli tank in which four young soldiers are being held without being able to actually see the horrors and massacres around them.
The Lebanese daily 'Al-Mustaqbal' spoke of the film as an attempt to erase 40 years of "Israeli aggression": "The public in Italy has been plagued for sufferings of those four soldiers ... And not for the victims of war, "said the Lebanese newspaper, that" the film only serves to show the supposed humanity of the Zionist state, which started the war 'against his will and' distressed '. "Duro also the newspaper 'Al-Akhbar' close to the Hezbollah movement: "Most people feel that a film against the war and then criticizes the conflict initiated by the Jewish state and its army, but in reality is in no way critical," wrote 'Al -Akhbar '.
Even the Lebanese blog came a chorus of criticism for a film aimed at "humanizing Israeli soldiers and Lebanese and Palestinian victims."' Lebanon ', as happened with 'Waltz with Bashir' (always on the Israeli-Lebanese war) will not be shown in Lebanon because Beirut authorities prohibit the spread of Israeli products.
Press
"Set all within a tank except for the first and the last shot, lightning, 'Lebanon' and almost a continuation by other means of 'Waltz with Bashir', the Ari Folman's masterpiece that changed the history of the cinema of war and the animation. (...) At first you think the films of submarines than once, but a moment. And if leaving the room and easy to rationalize because at the end of all war films speak of horrors name, power conflicts, war crimes, 'Lebanon' manages to combine great strength with two runs. That 'human', accentuated by the claustrophobia of the fund. And the most proper of war, with atrocities and abuses against civilians that left more and more light shed on the tangle of Israeli-Lebanese war. Even if the film's most touching scene is when a tank crewman recalls an episode from his childhood mixing sex and death, the excitement of a first time and the day when he lost his father. And it does so using only words. " (Fabio Ferzetti, 'Il Messaggero', 08 September 2009)
" How strange, how unimaginable war
la racconta Samuel Maoz, 47 anni di Tel Aviv, in 'Lebanon': al cinema non l'abbiamo mai vista così, neppure nel meraviglioso 'Valzer con Bashir', film di animazione onirico e poetico sull'episodio più orribile della stessa guerra, la strage di Shabra e Chatila (...) 'Lebanon' non ha una tesi politica, non è pro né contro Israele, vuole solo comunicare un'esperienza umana spaventosa, devastante per sempre." (Natalia Aspesi, 'la Repubblica', 08 settembre 2009) "Soldati libanesi, terroristi, ma anche parecchi innocenti. I cineasti d'Israele (vedi 'Valzer con Bashir') non hanno paura a raccontare in cinema il lato sporco delle loro guerre. Io la vedo come un'espressione of freedom. But many, sitting next to me, just as an admission of guilt. " (Giorgio Carbone, 'Free', 08 September 2009)
" 'Lebanon' Samuel Maoz is not a masterpiece, but his message of peace can easily take on a jury too heterogeneous. (...) Filmed at all 'inside of the tank, marked by the deafening sounds of war and war machines, the film builds up the tension in parallel with the loss of contact with the outside world, making palpable the fear and the' anguish of those you find absolutely unprepared for war and death. 'Lebanon' could possibly trigger some more reflection on the conflicts in the Middle East and the script (del regista) ricorda molti altri film, da 'Uomini sul fondo' a 'Belva di guerra', ma il risultato e indubbiamente molto efficace e il suo messaggio pacifista va dritto al cuore dello spettatore." (Paolo Mereghetti, 'Corriere della Sera', 09 settembre 2009)
"'Lebanon' del debuttante israeliano Samuel Maoz. La cui aspra audacia consiste nel fatto che si svolge tutto all'interno di un carro armato, dove restano intrappolati quattro militari arruolati nella campagna dell'82 in Libano: la claustrofobia della situazione pare fatta apposta, nella sapiente architettura narrativa, per esasperare sino al diapason le nefandezze della guerra." ("Valerio Caprara, 'Il Mattino', September 9, 2009) "The claustrophobic setting is a challenge, inform and impress, but it is invariably accompanied by evidence of a device is not tempered." (Silvio Danese, 'National Newspaper', 09 September 2009)
"The quarantasettenne director Samuel Maoz revives with 'Lebanon' (...) the dirty war that has experienced first-hand inside that tank. (. ..) The movie and the story likely than excited morning with the camera installed inside the tracked for an hour and a half and never moved outside. The only possible shots of the film are the first floors of the four Soldiers. videogame Or found the target in sight, camera movement enveloped by the annoying clang of the scrap metal, from mid-film forward even cracked lens after a rocket fired at the tank. A rigid and sobbing escape for the eye made up of gruesome and bloody detail, the only possible view and sets the horror of war. " (David Turrrini, 'Liberation', 09 September 2009)
" Same trauma, Maoz also like Ari Folman decides to recall 25 years after the nightmare of the war, when, twenty years old, killed for the first time. Instead of the cartoon, the director chooses a dreamlike vision, claustrophobic, introspective. And if 'Waltz with Bashir' claimed (unfortunately) a historical reconstruction, this begs the question. (...) Maoz move the crosshair inside your tank, the transfigured faces, dirty oil, lined with tears suffused with divine light. Acquitted for having disobeyed orders. Like this movie, "against the war," and the melodramatic aesthetic, unhappy about the state of the soldiers talking about mothers and teachers from the great tits, but Fuller and far. It remains an emotional cocktail that looks fine from where the Israeli censorship cordial "bad" and only a brute Christian Phalange (as in 'Waltz with Bashir'), which promises a prisoner in the hands of Syrian soldiers and frightening innocent cavargli 's eye with a spoon, cut off his penis and quartered, so they do not understand Arabic. We do because there are subtitles, but denied the Syrian, who vainly shouting his despair in the world. Samuel Maoz says he is still thinking about whether or not to add them in the final version. It will take another 25 years before you decide? " (Mariuccia Ciotti, 'Il Manifesto', 09 September 2009)
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