‘Tikkun': Film Review

A immature Hasidic yeshiva tyro undergoes a thespian celebrity change after a near-death knowledge in Avishai Sivan’s Israeli drama.

A immature Hasidic yeshiva tyro undergoes a devout predicament after a near-death knowledge in Tikkun, Avishai Sivan’s capricious play recently featured during New Directors/New Films. Visually overwhelming if dramatically logy and willfully enigmatic, Tikkun is a arrange of film that creates waves on a festival circuit — it’s already won prizes during a Jerusalem and Locarno fests — while withdrawal mainstream audiences mostly confused and confused. Still, a pic, that will accept a melodramatic recover this summer around Kino Lorber, is impressively talented and stylish adequate to symbol a writer/director as a talent to watch.

Aharon Traitel, a former Hasid and dilettante actor creation a distinguished film debut, plays a lead purpose of Haim-Aron, a immature male clinging to his eremite studies to a ostracism of all else, frequently fasting and pang from insomnia. One day while holding a showering — and clearly contrariety his passionate self-discipline — he suffers a tumble and is rendered unconscious. After spending 40 mins attempting to revitalise him, paramedics announce him dead, though his father (Khalifa Natour) refuses to accept their outcome and within moments miraculously brings his son behind to life.

After his resuscitation, Haim-Aron seems to be a new man. He unexpected announces that he will no longer be eating meat, many to a amazement of his grocer father. He starts slacking off in his studies, even descending defunct in class. And many strikingly, he seems to have gifted a passionate awakening, to a indicate of even visiting a prostitute, nonetheless he’s eventually some-more meddlesome in chatting with her than availing himself of her services.

The slow-paced film spasmodic veers into surreal territory, many quite with a father — who worries that his son’s divergent function is a phenomenon of God’s exasperation about carrying His skeleton for Haim-Aron’s genocide thwarted — experiencing such visions as stabbing his son in a behind and an alligator crawling out of his toilet bowl. The record turn even some-more unfortunate toward a end, quite in a scene, from that even a likes of David Cronenberg would recoil, involving a striking depiction of Haim-Aron digitally violating a bare physique of a defunct womanlike collision victim.

Strikingly photographed in high contrariety black-and-white, Tikkun — a pretension is a Hebrew word definition “fixing/rectification” — is impressionistic rather than coherent, some-more meddlesome in substantiating an meaningful mood, despite one leavened by wily doses of dim humor, than creation a themes of sacrament contra secularity understandable. But it’s positively not a film that can be simply forgotten.

Venue: New Directors/New Films
Distributor: Kino Lorber
Production: The Mouth Agape, Plan B Productions
Cast: Aharon Traitel, Khalifa Natour, Riki Blich, Gur Sheinberg, Omri Fuhrer, Dani Kedem, Shani Ben Haim
Director-screenwriter: Avishai Sivan
Producers: Ronen Ben-Tal, Avishai Sivan, Moshe Edery, Leon Edery
Director of photography: Shai Goldman
Editors: Nili Feller, Avishai Sivan
Costume designer: Malky Fogel
Casting: Bar Hadas

Not rated, 121 minutes

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