From the truncated shots of the actors in the opening scenes, we know we are in the hands of a director who believes that pretentious cinematography is a signifier of deep thought. We have been alerted that Israel, the mise en scene of this movie, is a fractured society comprised of many polarities: military culture vs poetry; Ashkenazi vs Sephardi (the Israeli version of racism); marriage vs divorce; innocence vs perversion – all of which will be played out during the course of the film.
The plot concerns a teacher who becomes enthralled and obsessed with a five year old prodigy in her class. As an aspiring poet, Nira is astounded at the precocity of the child and his intuitive grasp of emotional epiphanies he is far too young to have experienced. He becomes the contrast to her own son who aspires to a military career and to the militaristic attitudes of Israel itself. These are represented by the song of the Macabees, sung at deafening decibels by the children in Nira’s class and by the foul-mouthed lyrics to the equivalent of a color war song sung by the five year old Yoav and his classmate. The boy’s poetry unleashed in Nira the passion that has been missing from her own marriage, freeing her from its constraints into an adulterous liaison with her own poetry teacher and a loose-haired wild dance that’s a stand-in for a ménage a trois. So many symbols for us to contemplate!