Samuel Maoz, “Foxtrot” (2017)
Divided into three parts, with the first and third parts dominated by the same actors and sharing the same setting (an apartment), “Foxtrot” is a meditation on loss and grief, and how the effects of loss can reverberate over generations, themselves leading to further consequences that might have the result of locking people into a never-ending cycle (as demonstrated in the basic steps of a foxtrot) of loss, grief, indifference – and violence. A decision made in haste sets in place a series of actions that end not only in loss but in friction, conflict, upheaval and maybe missed opportunities for reconciliation … such a decision can ruin people’s lives and turn a nation’s destiny down onto a dangerous spiral of brutality and violence begetting more brutality and violence.
Architect Michael Feldman (Lior Ashkenazi) and his wife Dafna (Sarah Adler) receive upsetting news from Israeli Defense Force soldiers that their son Jonathan has been killed in a fight. Acting on autopilot, the soldiers sedate a hysterical Dafna, advise Michael to keep drinking water on the hour to stay calm and collected, and tell the Feldmans that the IDF is taking care of all the funeral arrangements. Michael goes through a range of reactions from numbness to anger to grief and frustration as he demands answers about the circumstances of his son’s death from the soldiers. Later, they receive news from their superiors that a different Jonathan Feldman died and the architect’s son is still alive …
… and guarding an isolated outpost on Israel’s northern border along with three other young soldiers in the film’s second act. They eat tinned muck and sleep in cramped and wretched conditions in a shipping container – one that is slowly but surely sinking into muddy soil, as measured daily by how fast a tin of meat rolls from the upper end of the container to the lower sinking end – from one lo-o-ong day to the next. They lift the gate for wandering camels and check the IDs of Palestinians driving from one part of the country to the next. The Palestinians accept their humiliating treatment with passive resignation which, in the case of two wedding guests forced to stand in pouring rain while the soldiers run their information on a ramshackle computer, verges on tears as their hair-styles and make-up are ruined. The bored soldiers tell one another stories, listen to radio music and play video games to pass the time in their cramped and miserable outpost and shipping container, until they meet a group of party-goers in a car who accidentally drop what a soldier mistakes for a bomb and then all hell breaks loose …
Initially there seems to be not much plot for the film to hang on and it does pass by very slowly – all to emphasise the parents’ grief and agony, and how they deal with the shock of the news of their son’s death; and to detail the shabby treatment of young inexperienced soldiers by the IDF in putting them in situations where mistakes they make could have serious life-or-death consequences. The film starts to move when Michael, on hearing that his son might still be alive, demands the youngster’s return and contacts someone senior in the IDF. The IDF duly sets the wheels in motion to bring Jonathan home – but no-one can foresee what happens during the trip.
By mixing parts of the narrative so that the film’s climax comes at the end when it should come about two-thirds of the way through the film, director Maoz reinforces the circular nature of fate and how an apparently innocent decision intersecting with a random act can have devastating consequences. In the third act, Michael and Dafna have already split, their son really is dead but the parents appear not to know how he died: all the IDF will say is that he is one of “the fallen”. While Michael and Dafna make an effort to patch up their relationship, the IDF itself learns no lessons from the second Jonathan Feldman’s death and the circumstances in which it arose, and its soldiers continue to obey and carry out orders, robot-like, asking no questions and continuing to injure, wound and kill innocent people thoughtlessly.
The circularity of fate that traps the Feldmans may be a metaphor for the circularity of continuous trauma, brutality and unwillingness to face up to and learn from its decisions and actions that keeps Israel trapped and which has turned that nation into a global pariah. Ingeniously, Maoz’s film offers a path out of that trap: as the foxtrot needs to be danced properly with a partner, rather than solo, Israel needs to partner and reconcile with the Palestinian people to break it out of its descent into further dysfunction and to become a normal nation.
The cast of actors is very good and Ashkenazi turns in an incredible performance as the grieving Michael. Adler is a good foil though her role as a supportive wife is a little stereotypical. The cinematography is another asset: scenes shot from above, close-up or at unusual angles can stress helplessness, isolation or intense grief. The narrative’s minimal style throws emphasis on characters’ emotions and on the deterministic nature of the events that occur as they seem to lead inexorably to disaster and further tragedy.