Nadav Lapid’s cinematic journey reveals a profound struggle against his Israeli identity, marked by films like 'Synonyms' and 'Ahed's Knee'. His latest film 'Yes' embodies a fusion of chaotic contradiction, showcasing Lapid’s visceral and provocative style. This film, inspired by recent events and marking a transformation in his artistic expression, explores themes of surrender and compliance, presenting a narrative about a jazz musician and his dancer wife who navigate societal demands. The film's chaotic and self-loathing energy underscores Lapid's complex relationship with his background and artistic voice.
Horrified by the country of his birth and heavy with the weight of its sins, Nadav Lapid has created modern cinema's most splenetic filmography by fighting his Israeliness.
The vituperative genius of his cinema is epitomized by the fact that 'Yes' is both the wildest film that Lapid has ever made, and the most defeated.
As sincere in its satire as it is satirical in its sincerity, 'Yes' is a veritable orgy of self-loathing surrender that reaffirms Lapid as the world's most visceral director.
In a movie that unfolds like an Ecstasy-addled cross between Pier Paolo Pasolini's 'Salo' and the Jim Carrey comedy 'Yes Man,' Lapid doubles down on the frenzied violence of his filmmaking.
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