Disengagement

The excellent Israeli director Amos Gitai has used this time a script to provide a vehicle for great names like Juliette Biboche, Barbara Hendricks, Jeanne Moreau, but has little to do with any real situation. An Israeli policeman travels to Avignon to attend the funeral of his stepfather. He sleeps on the street amid the homeless but wears a suit for the funeral! His beautiful step sister Ana who has not seen her daughter since early childhood and has not kept any contact with her, discovers that the daughter lives in a settlement in Gaza. Quite strange, the late father of Ana did visit his granddaughter occasionally! Instantly Ana travels to Gaza, succeeds to penetrate the sealed-off territory from which religious settlers were to be evacuated and wanders amid these settlers until she founds her daughter. The film has some beautifully filmed moments depicting the confusion, religious frenzy of settlers and cold blood of the policemen involved, but otherwise is very close to the usually sold kitch.

Will be honest off the bat about not caring for any of the films in Amos Gitai's "Border Trilogy" (the other two being 2004's 'Promised Land' and 2005's 'Free Zone'), seeing them mainly because they had interesting subjects and performers (Rosamund Pike, Natalie Portman and Juliette Binoche primarily) responsible for some great work.

That being said, all three films have their merits but also a lot of faults. All three are examples of films that dealt with heavy, sensitive and brave subjects but could have done much more with them and handled them more compellingly and tactfully. Of the three, 2007's 'Disengagement' may be the best, being by far the best-looking and having a few moving, emotionally impactful moments that the other two lacked. Mostly though, the execution was wanting and it mostly left me disengaged.

'Disengagement' does have good things. As said, it is the best-looking of the trilogy, which is saying a lot seeing as 'Free Zone' in particular was visual chaos. There were however some beautiful images here and also some harrowing ones that will stay with me for a while. The scenery again is atmospheric and evocative. Again, another attraction is the soundtrack. Not only is it very well-composed and full of atmosphere and sheer beauty, it really adds and even enhances the mood, giving an emotional wallop.

Considering what they were given, the actors do a good job. Particularly Hiam Abbass on movingly dignified form and Jeanne Moreau. Operatic soprano Barbara Hendricks also impresses. Like 'Promised Land', the opening scene of 'Disengagement' was very promising, but the highlight story-wise is the poignant last 15-20 minutes.

However, despite the great opening and ending the film in between is messy. 'Disengagement' is never as distasteful or gratuitously salacious as 'Promised Land' or as preachy and confusing as 'Free Zone', but a lot of it is long-winded and dull. Particularly the first half which often goes nowhere, goes on for much too long and relies on the interaction of the actors which is not always very natural. The Gaza scenes are a little less drawn out, but are hardly illuminating or insightful and get heavy-handed and far too one-sided. It can be hard to follow too and feels very disorganised, as well as the two halves being far too much of a disconnect to each other (having little to no relevance to each other), but doesn't feel incomplete like 'Free Zone' did.

Script-wise, 'Disengagement' is very stilted, rambling and is one of the most bizarre for any film seen by me for a while. The character development is mostly very flimsy and extraneous, as aimless as the film's first half. There are exceptions to the acting, Binoche herself and Leron Levo, she trying too hard and he not enough. Once again, Gitai directs in a way that is suggestive of the concept of subtlety being completely alien to him.

In conclusion, some good things and the best of "The Border Trilogy" but mostly left me disengaged. 5/10 Bethany Cox

Maybe it's fashionable for people to listen to paint drying whilst off their heads on cocaine these days; it's the only reason I could think that would make this movie even tolerable. Boring disconnected dialogues, focussing on the irrelevant whilst skimming through what should be important plot elements (for the little plot that there actually is).

In a nutshell, this movie is the visual equivalent of really bad elevator music - something that leaves you feeling like your senses and your time have, wondering how you allowed yourself to be exposed to it.

The movie starts with a long conversation that seems written solely to enable a character to complain that the Arabs of Palestine are not recognized as a distinct nation although (contends this character, who is never seen again) they have been one for hundreds of years. It continues with a long interlude of existential/claustrophobic drama in a large house in Avignon occupied by the fresh corpse of an old professor, his frequently and unaccountably merry daughter, and his adopted son from Israel, with whom the daughter flirts. This interlude fails perhaps because the actors seldom have a line in their native language and therefore can't summon up the mojo to give the cryptic relationships interest. Then it appears that according to the old man's will, to which the daughter unsuccessfully tries to forge a change, the daughter must now go visit her own abandoned daughter who lives in Gaza in a Jewish settlement which the son already has military orders to coincidentally, at the very same time, go help dismantle. The dismantling of the settlement, re-enacted up the coast at Nitzanim, looks reasonably realistic, at least if you judge by the news footage of the time. A fairly large troupe of bit players does justice to the soldiers and the settlers, and the camera conveys the atmosphere well. As the old man's daughter meets her own daughter and they, at least briefly, lose one another again during the evacuation, is their relationship supposed to symbolize something about the political situation? Or vice versa? What do the scenes in Gaza have to do with the matters raised in the Avignon scenes? A viewer is tempted to think that perhaps Gaza was introduced for no reason but to link an otherwise boring and incomplete movie to a hot item from the recent news pages.

In Avignon, Ana (Juliette Binoche) is a flighty woman estranged from her husband. Her father lies in state. She's overjoyed when her adopted brother Uli joins her at the funeral. They try to forge their father's will. The attorney dismisses their forgery and produces the real will. It states that Ana must reconnect with her daughter whom she abandoned in a Gaza kibbutz as a teenager. She arrives just as the authorities are schedule to take down the Jewish settlements from the Gaza Strip.

First, it takes a long time for the drama to start. It's not until the reading of the will after forty minutes that the drama really gets going. Before that, it's a slow meandering story. It's also a weird way to get at the Gaza issue. It seems a side entry into this important issue. Once there, it does some interesting things.