Director: Barak Heymann, Tomer Heymann
Israel-United Kingdom, 2016, BluRay, color, 84’
Saar has never fulfilled his parents’ expectations. Ever since he defied the rules of his kibbutz and was barred from the settlement community seventeen years ago, as far as his family is concerned, he simply does not exist. He left Israel to live freely as a gay man in London. When a three-year relationship ended, he threw himself into an excess of sex and drugs until he was diagnosed with HIV and was forced to rethink his life. He has finally found a home singing in the London Gay Men’s Chorus where music is giving him the courage for a reunion with his family. This film provides a sensitive, humorous and charming record of how the now forty-year-old protagonist and his estranged parents and siblings set off to confront their disagreements and fears. Unexpected warmth and deep rejection become equally challenging. Incidentally, Saar’s intensely personal story also illuminates the fascinating diversity of a communal way of life that is pervaded by culture and religion; he also inspires us with the sincerity of his search for his identity. The film’s numerous energetic and emotional choral scenes lend passionate expression to his message.
In 1962 Philip Corner, one of the most prominent members of the Fluxus movement, caused a great commotion in serious music circles when during a performance entitled Piano Activities he climbed up onto a grand piano and began to kick it while other members of the group attacked it with saws, hammers and all kinds of other implements.
John Frederick Lewis is considered one of the most important British Orientalist artists of the Victorian era. Pera Museum exhibited several of Lewis’ paintings as part of the Lure of the East exhibition in 2008 organized in collaboration with Tate Britain.
I remembered a game as I was waiting in the passenger lounge for the ferry to arrive just a few minutes ago. A game we used to play at home when I was young, in my country that is very far away from here, a relic from the distant past; I don’t even remember how we used to play it. The kind of game that makes me feel a thousand times lonelier than I already am among the crowd waiting to get on the ferry.
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