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When the American asked the Israeli why she was suddenly moving to Berlin, one of the big moments of the year came

Cinema is back, and Israeli cinema is also coming to life.

"Sublet" by Eitan Fox, one of the first Israeli films of the post-Corona era, is a simple but beautiful love song for Tel Aviv, which speaks English, but manages to capture the contemporary existence of the White City.

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• Ethan Fox

• Leahy Kornowski

• Sublet

Avner Shavit

Thursday, 10 June 2021, 00:08 Updated: 09:50

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Trailer for the movie "Sublet" (United King)

(Photo: Shai Librovsky)

Those who have wandered the streets of New York in recent weeks have heard more Hebrew in them than on the streets of Tel Aviv. From this coming weekend, he will also be able to see more spoken Israeli films in the city than our audience can: on Friday, no less than two feature films made in Israel - "Asia" and "Sublet" will be staged in its high-quality halls. If you add this to the fact that the Cannes Film Festival chose to present in its upcoming edition no less than six cinematic works from the Holy Land, then overall this is a beautiful time for the local work, probably given that there were already those who were quick to tweet that the corona would be the last nail in its coffin.

"Asia" will also rise in the country in the coming weeks, and "Sabalt" is already here. It is interesting to note that as befits the linguistic richness of the local society, both speak mainly languages ​​other than Hebrew - "Asian" speaks Russian and "Sublet" English.

The protagonist of the film is an American journalist, played by John Benjamin Hickey, who until now was best known from the TV series "The Good Wife".

As is implied by the name of this drama, the guest snatches a Tel Aviv apartment here, and then develops contact with the young man who rents it to him, played by Niv Nissim in his first film role.

Facing his anonymity is the identity of the director - Ethan Fox, who thanks to "Yossi and Jagger" and "Walk on the Water" has become one of the most prominent Israeli filmmakers in the last two decades, and he wrote the screenplay with Itai Segal.

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To the full article

From "The Good Woman" to Israel.

John Benjamin Hickey in "Sublet" (Photo: Photo from the movie "Sublet")

Early on in this script, it turns out to be a story about a relationship between a man who never managed to be a father, and a kid who probably never had a father. Fox, as usual, describes it all in a sensitive and moving way, but it's hard not to ask the question that was also asked in the case of "Call Me by Your Name": What would have been the reactions if the age gap had been maintained but the gender division of roles had changed? How would people today react to a story about a man who has a sexual and romantic relationship with a young woman who could have been his daughter?

And another note to the order: at some point, the Israeli pavilion uses the term "American princess" (JAP), which is a very common (and very problematic) concept in American discourse, but not really acceptable here, and it is not very likely that a young Tel Avivian will use it, certainly not in a form And in the situation in which he does so here. Not bad.

On the other hand, there are many more good things to say about the film.

While most local composers prefer to flee Tel Aviv, even for populist and opportunistic reasons, Fox does not hesitate to sing a love song for the White City here, and is educated to capture its contemporary being, among other things through a rich soundtrack that combines Omar Adam and Alon Adar.

What would have been the reactions if the age gap had been maintained but the gender division of roles had changed?

From "Sublet" (Photo: Jerusalem Film Festival)

There are scenes here that need to be cut and saved: for example, when the young man from Tel Aviv hosts his best friend, a dancer played by Lehi Kornowski (electrifying as always), and she tells the New Yorker about her intention to immigrate to Berlin.

He asks innocently of one who has not eaten a cottage since his days - "But is this not the place responsible for the great tragedy of the Jewish people?"

And in response the two young men burst out laughing.

Another moment, seemingly anecdotal only, is devoted to a dialogue between the young man from Tel Aviv and a saleswoman in a bakery who demands excessive sums in exchange for a maple muffin.

But the truth is that the most beautiful scene has nothing to do with money, Nazis or geography.

It involves two people, two pairs of socks and mostly two broken hearts.

So simple, so beautiful.

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