Elite Zexer's Sundance winner and Ophir-nominated SAND STORM opens at Film Forum

An Israeli film that's all about Bedouins, their traditions and halting attempts at some kind of modernity, SAND STORM is original, exotic, fiery and humane -- often simultaneously. What we see happening has the air of something centuries old, even if the plot pivots on how a daughter's cell phone is coincidentally answered by her mother. Taking place mostly in the home of a family in a tribal village in Israel's Negev desert, the film centers on that mother and daughter, both of whom are chaffing at the bit of Bedouin patriarchy.

Part of the movie's surprise and fascination comes from the fact that it seems very different from so much else we've seen come out of Israel -- narrative- or documentary-wise. As written and directed by a filmmaker new to me, Elite Zexer, shown at left, it immediately tosses us in media res and then let us fend for ourselves in figuring out what is happening and why. We do, and pretty quickly, although I suspect folk who live in this part of the world may have a stronger connection to the traditions and mores of the characters we see.

The mother of the family (Ruba Blal, above) is having to prepare, most unhappily, for her husband's wedding to a new wife, while her daughter (Lamis Ammar, below, right), we soon learn, is carrying on a forbidden romance with one of her university peers (Jalal Masarwa, below, left).

Dad (Haitham Omari, below, right) is a handsome but ineffectual man, who, as his wife and daughter both point out, is constantly explaining his actions by saying that these are things he "has to do." Everybody here -- women and men alike -- appear to be abused by their own traditions and the patriarchy, though the women, as ever, have it worst. We get the sense that education is the force that is helping to unite Bedouins, and yet this unity, which has brought together the daughter and her boyfriend, is also what is creating out-of-tribe relationships -- a no-no in this culture.

Love vs arranged marriage, family ties vs tribal ties, banishment and sacrifice -- all of this pits mother against daughter against father, with escalation heaped upon escalation. When, toward the finale, one character tells another, "There's nothing for you here," we realize that this judgment could apply to literally everyone on view.

Sand Storm could be an unrelentingly sad and difficult movie, but Ms Zexer fills it with such marvelous actors and has given them a screenplay that goes just far enough to fill the audience's understanding without over-explaining anything. The film's final scene, in fact, is completely silent. But it is hugely meaningful, presaging unfortunately what may come for the next generation.

In what may be be the movie's most telling moment, dad's plump and pretty new bride, above and below, implies to the daughter that her own situation as the newbie here is nothing to be pleased about. We never learn the details, but it becomes suddenly clear that there is probably "nothing for her here," either.

This "I have to" attitude, expressed by dad but also by so many other characters in their own way, is what allows -- and disallows -- so much that has and will continue to happen.  The movie is certainly feminist and anti-patriarchy, but it lets us see how these traditions -- large and small -- suppress everyone on view. At the wedding ceremony, for instance, certain women (I am guessing they are the former and now-tossed-away wives) must wear fake mustaches. Gheesh.

It is no surprise that this film won the World Cinema Grand Jury Prize at this year's Sundance Fest, and that it was also nominated for twelve -- count 'em -- Ophirs (the Israel's equivalent to our "Oscar"). Because it won six of those, including Best Director and Best Film, Sand Storm becomes automatically designated as Israel’s official submission to the Oscars for Best Foreign Language Film. It is a winner in every way, and we shall look forward to whatever Ms Zexer tackles next.

Meanwhile, Sand Storm, from Kino Lorber, in Arabic with English subtitles and running just 88 minutes, has its U.S. theatrical premiere tomorrow, Wednesday, September 28, in New York City at Film Forum, where it will have a two-week run. The film opens in Los Angeles at Laemmle's Royal on October 7. Elsewhere? Perhaps--once word-of-mouth generates.

Radu Jude's AFERIM! opens: Romania's overlooked entry into the BFLF sweepstakes

It didn't get a nod from the Academy, even as one of the shortlisted films in this year's roundup of Best Foreign Language Film contenders, but Romania's entry nonetheless deserves a look from foreign film aficionados. Its title -- AFERIM! (which I am told translates from the Turkish as Bravo!) -- can only be meant ironically, as there is damned little to be "bravo-ing" about in this movie, its quality notwithstanding. These days, we are most used to films that come out of Romania as tackling one of two subjects: the current and difficult life in this now-post-Communist country or a look at the "bad old days" under the Nicolae Ceausescu regime.

To our surprise, Aferim! takes us back to some even older "bad old days," specifically to 1835, a time when the enslavement of gypsies in Romania was still very much alive and thriving. The film's writer and director,  Radu Jude (shown at right), along with his co-writer, Florin Lazarescu, and all the locations, set and costume people have given us a "period piece" that looks, to western eyes at least, even more "period" than we might imagine (maybe 1735, rather than 1835) -- so backward does everything, especially the characters, seem. But that, or course, would be the point of the ironic Bravo!

The attitudes of the people -- to each other and the world around them are so unhelpful that you might think you'd stumbled into a costume party given and attended by America's current Republican Party. Though you might find yourself chuckling now and again, Aferim! is not really a comedy. It's part satire, part road trip, and part an uncovering of history that many would rather forget. And there is one simply terrific and hilarious little speech about certain countries of the world and the particular thing that characterizes each.

The plot has to do with a brand of "Constable" (Teodor Corban, above) who has been assigned by the town's "boss" (the fellow in that bizarre "hat" shown two photos above and three photos below) to bring back an escaped gypsy slave. The circumstances under which the slave escaped will eventually become clear, but for now the Constable and his nearly-grown son head out to find the slave, while encountering all sorts of oddities along their way.

Casual betrayals by nearly one and all show the world of this time to be populated by folk who find anything and anyone unlike them to be worthless and disposable. Hate everyone, trust no one would seem to be the motto here. The groveling populace refers to the constable (and just about anyone with a little power) as "Bright Lord," and there are a number of these "Bright Lords" whom we meet as the movie progresses.

The black-and-white cinematography (by Marius Panduru) proves an enormous asset, with the camera seeming not to favor many close-ups, particularly in the initial stages of the movie. (This may be fortuitous, in that it helps us keep our distance from all concerned.) The large cast joins happily into the fray, bringing to life this time when life seemed unpleasant and most likely all too short.

By the finale of this Romanian romp, we're once again made aware of the evils of patriarchy and how power and injustice go hand in hand. If many of the subtleties of the film probably went right over my non-Romanian head, I do wonder what its original audience made of this movie: how it was perceived in its home country -- as a comedy, a provocation, or what?

Whatever, it's a very interesting film, a blend of history and unpleasant humor culminating in a grizzly act of macho power that will have males in the audience crossing their legs, while the women roll their eyes and mutter, "Men!" From Big World Pictures and running 105 minutes, Aferim! opens this Friday, January 22, in New York City (at the Lincoln Plaza Cinema and the Angelika Film Center) and Los Angeles (at Laemmle's Royal and Playhouse 7) and in San Francisco (at the Opera Plaza Cinema).  To see all currently scheduled playdates, click here and scroll down.