Samuel Maoz's first film, "Lebanon" introduced us to a world-class director and to one of cinema's great debuts. Its follow-up, "Foxtrot" confirms his stature and makes you wish he were more prolific, (they are the only two feature films he's made in eleven years). Both deal with the conflict in the Middle East and what distinguishes both films from, say, American films covering similar material is Maoz's complete lack of sentimentality and his meticulous attention to detail.
"Foxtrot" begins with a quiet and devastating exploration of grief as parents are told of a son's death and the details of the funeral rite are explained. What isn't explained are the circumstances surrounding the death. Then, in a twist we aren't expecting, events change and the film takes an almost surreal turn away from what we had been watching like a tragic-comedy with the tragedy very much to the fore.
As in "Lebanon", which took place almost entirely in a tank, Maoz demonstrates a remarkable visual sense in a film full of extraordinary imagery and yet somehow these images don't seem to relate to the film we thought we were watching. This is a war film and a film about conflict unlike any other. Of course, you could argue it isn't about conflict at all but about family, guilt and love and is wholly original. With only two features to his name Maoz has earned his place among the best directors in world cinema today.
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