A Art Tv Review

 Horrified by the country of his birth and overwhelmed by the weight of its sins, Nadav Lapid has crafted the most wrathful filmography in modern cinema, battling his own Israeliness as if it were an incurable virus infecting his work. The explosive *Synonyms* (2019) was a semi-autobiographical identity crisis about a man who flees to Paris, convinced he was born in the Middle East by mistake; for its part, *Ahed’s Knee* (2021) constituted an equally personal cry into the wind—this time rooted in the frustrated impotence of artistic resistance in the face of an exultantly genocidal ethno-state. While Lapid’s earlier features—*Policeman* and *The Kindergarten Teacher*—sought a glimmer of hope, these two films convulse with rage, though both are tinged by a sense of resignation that they fight tooth and nail to shake off. Consequently, I naturally assumed that his next feature—written in Europe prior to the events of October 7, 2023, and subsequently reworked with fury around them, o...