Nadav Lapid’s Unflinching Exploration of Post-October 7th Israel in Yes
A Provocative Lens on Israeli Society
Nadav Lapid, a pivotal figure in contemporary Israeli cinema, has always wielded his camera as a weapon against the societal malaise of his homeland. Known for films like Policeman, The Kindergarten Teacher, and Ahed’s Knee, Lapid’s works delve deeply into the human condition amidst turbulent social and political landscapes. His latest feature, Yes (Ken), escalates this exploration into the realm of the visceral and grotesque, presenting a daring commentary on life in Israel following the tragic events of October 7th, 2023.
Plot Overview: A Descent into Decadence
Set against a backdrop of decadence and chaos, Yes follows the intertwining lives of Y. (Ariel Bronz) and Yasmin (Efrat Dor), a couple who barter their bodies and souls for survival in a hyper-capitalistic world. The film’s early moments are an unflinching portrayal of their grim existence, showcasing a sensory onslaught that captures the brutality of their choices. As Y. grapples with his identity as a jazz pianist and gigolo, he unwittingly becomes embroiled in a patriotic spectacle, composing songs that underscore the Israeli Defense Forces’ military actions.
A Gripping Critique of a Nation
Despite being conceived before recent conflicts, the shadows of war loom large throughout the film. The camera’s relentless gaze captures both the opulence of excess and the despair of a nation in turmoil. In scenes interspersed with imagery of Gaza in flames, Lapid doesn’t shy away from highlighting the moral ambiguities at play as Y. faces the results of his artistic choices.
The First Act: An Assault on the Senses
For the first hour, Yes unfolds like a series of fever dreams, as Y. and Yasmin immerse themselves in a world of hedonistic parties and exploitative encounters. To the pulsating beats of techno, the couple finds themselves entangled in depravity, reminiscent of Paolo Sorrentino’s The Great Beauty and Boccaccio’s The Decameron. Under the spiraling lens of Shaï Goldman, the camera dances through their chaotic lifestyle, highlighting both the allure and the repulsion of their choices.
Humanity Amidst Chaos
Intriguingly, amid the debauchery, Y. and Yasmin emerge as relatable figures—young lovers trying to navigate the madness around them. Yasmine, a dance teacher, and Y., a musician, embody the aspirations of many youth in Israel, caught between dreams and harsh realities. However, as Y. accepts a lucrative offer from a Russian oligarch, the film starkly illustrates the cost of survival in a society grappling with its own contradictions.
The Crucial Midpoint: Reflection and Consequences
Yes is divided into three distinct acts, with the second act—“The Route”—offering a moment of introspection. Y. reconnects with Leah (Naama Preis), an old classmate turned interpreter, who helps him confront the horrors associated with the ongoing conflict. This pivotal scene, shot in a single take, illuminates the anguish both sides of the conflict endure, reminding viewers that behind the glamour lies profound suffering.
Conclusion: A Harrowing Reflection of Reality
In his latest offering, Lapid presents an uncompromising reflection on the state of Israel, positioning Yes as a canvas upon which he splashes not just beauty but also anguish. The film challenges audiences with its provocative imagery and emotionally charged narrative, refusing to provide a sense of escape. For those seeking solace in a tale of peace or restoration, Lapid’s film might prove jarring; instead, it stands as a bold testament to a nation grappling with its identity.
As Yes navigates through the chaos of contemporary Israel, it leaves viewers questioning whether there is still hope or merely resignation. In a world fraught with turmoil, Lapid’s work resonates as both a call to awareness and a lament for a lost dream, marking a poignant chapter in his cinematic exploration of a land at war with itself.
