And it's true that the stakes are low here. She is about to be married off to a promising young man of the same age and background. On Purim, her twenty-eight-year-old sister, Esther, dies while giving birth to her first child, Mordechay. There's nothing remotely monkish or drab about the lavish physicality and rich lighting that infuses a sexually modest subculture with sensual pleasure and — yes — romance. In light of the recent violent protests among ultra-Orthodox men and women against women who claimed the right to pray as men do at Jerusalem's Western Wall, some would call Fill the Void a roaring case of special pleading. We become as absorbed in the intricacies of this world as we would be in a domestic drama derived from Jane Austen.
And perhaps Burshtein does take a willfully rosy view of women's standing within the Haredi community. Shira will have to choose between her heart's wish and her family duty. She won the best actress award at the Venice film festival. We meet Shira Hadas Yaron , a dewy 18-year-old beauty, in a lather of girlish excitement after she catches a glimpse of the side-curled young Hasid who's been picked out as her future husband. Everything changes when a match is proposed to Yochay-Esther's late husband-to a widow from Belgium. Original screen designs and text edits completed by graphic designer, Lisa3679, and gamer NathanWubs.
Since then she has devoted herself to nurturing a small but growing cinema of Orthodox Haredi Judaism, especially for women. Her predicament is bound up not only in Hasidic tradition but also with the push-pull of loyalty and desire that would confront any young woman in her situation. Burshtein draws us into this world without simplifying it for us. Shira is pressured to marry Yochay, the husband of her late sister. Instead, she vividly depicts a clannish culture that is likely to feel foreign and perhaps off-putting to generations that came of age in a progressive post-feminist era. Don't know from the movie if Shira made the right choice.
Domestic drama: Among the ultra-Orthodox world of Tel Aviv's Haredi Jews, Rivka Irit Sheleg, left and her daughter Shira Hadas Yaron, second from left, with Hila Feldman and Razia Israeli are confronted with a dilemma after a death in the family. Judy Gruen is the author of several books, including the newly released. The film is made from deep inside, without a trace of otherness or voyeurism. In fact, Burshtein goes out of her way to show — as is the case in many old-world cultures — that despite initial appearances, in this society the fairer sex ultimately calls the shots. Subject: , , , Director: Producers: Production company: Norma Productions 972-3-5609311. Where does that need come from? An insider by choice rather than by birth, Burshtein grew up in New York and only committed herself to Hasidic Judaism while at film school in Israel.
We never pass your information to a third party. Eighteen-year-old Shira is the youngest daughter of the Mendelman family. There is, I suppose, documentary value in all this, but the film plays out too intensely, and has too many good performances, to be mistaken for mere ethnography. The movie powerfully reveals life in a tight-knit, purposefully insular community. The setting might be shut off from outside influences, but its ending leaves the door open for interpretation and post-viewing discussion — just as the best sort of movie-going experiences often do. Her prior experience was making short films only for the women in her sexually segregated circle.
Burshtein refuses to engage with the culture wars that flare fiercely between secular and religious types in Israel; in fact she's trying to avoid types of any kind, which may be why secular audiences and critics have embraced her rapturous depiction of a community living its life, more separate from than at odds with the society beyond. I started to realize the power of not being in the center. Reviewed by Peter Rainer — Christian Science Monitor Very few movies have ever been made, successfully or otherwise, about life inside an Orthodox religious society. But in the film, the women are quietly influential in many ways, which mirrors what she has seen since joining that community years ago. But when it turns out he would likely relocate to Belgium for his bride-to-be, thus separating Rivka from her first grandchild, his mother-in-law engineers an alternative scenario: Shira should marry Yochay.
The family's older daughter, the 9-months-pregnant Esther, suddenly drops dead and leaves her newborn son and a grieving husband behind. When the girls' mother finds out that Yochay may leave the country with her only grandchild, she proposes a match between Shira and the widower. Shira will have to choose between her heart's wish and her family duty. On Purim, her twenty-eight-year-old sister, Esther, dies while giving birth to her first child, Mordechay. Nearly the only modern-day intrusion into this hermetically sealed society is the booming techno-music beats of an outdoor Purim celebration, which are quickly muffled by the closing of a window. Her mother now looks to Shira to marry her bereaved brother-in-law instead and the pressure builds as Shira is caught up in an uncomfortable personal dilemma. It is no accident that women are often framed by gauzy white fabric, such as curtains and veils, illuminated by rays of light — suggesting the presence of a spiritual force — while the men conduct their business in dark, shadowy confines.
The Ebert Club is our hand-picked selection of content for Ebert fans. As cloaked, cult-like figures surround the building, the patients and staff inside start to turn ravenously insane. Director will be in attendance. She will find out that the void which she must choose exists only within her heart. Of course, if someone is already engaged to a man and decides she would rather marry another, she must step out of the bond and the official document signed at the first Engagement Needs to be annulled before she can enter a new Agreement. When Rivka, mother of the two sisters, learns that her son-in-law, Yochay, plans to move to Belgium to remarry, she is so distraught at the thought of losing contact with her grandchild that she proposes a radical plan: that Yochay marry Shira instead.
She is about to be married off to a promising young man of the same age and background. Shira wants to do the right thing for her family, but her youth and inexperience make it hard for her to understand and acknowledge her own feelings. The pain and grief that overwhelm the family postpone Shira's promised match. Her work has appeared in the Wall Street Journal, Chicago Tribune, Los Angeles Times, Boston Globe, Jewish Action, and many other media outlets. With skilled deployment of long takes, lingering close-ups, repeated musical cues and meticulous lighting, director-writer — a Hasidic insider herself — never allows the intimacy to become too stifling, however. Throughout the year we bring the best of world cinema, provide support and training to new and emerging filmmakers, and produce education events including exploring holocaust, genocide, racism and interfaith themes with a variety of audiences including students and young people.
Yochay feels it's too early, although he realizes that sooner or later he must seriously consider getting married again. Burshtein makes it very clear that, despite the sexually segregated hierarchy in this world — despite the patriarchy at its core — the women are an indomitable bunch. Even though she is of this community, she acknowledges its observances might seem disorienting to outsiders. Still, tradition still rules the roost. Desolate enough at having her own hopes dashed, Shira is downright paralyzed by the ethical and emotional implications of marrying her beloved sister's husband, whom she has loved as a brother. One wonders how he would respond to a request to take a year off to travel by herself, or to train as a rabbi. Advertisement Most of the action takes place in cramped if homey domiciles in Tel Aviv, with only a few detours onto sidewalks or inside of a synagogue.