jpost.com
Lapid's "Yes!" in Cannes Directors' Fortnight After Boycott Speculation
Nadav Lapid's "Yes!", a film set in post-October 2023 Gaza war Israel, starring Ariel Bronz and Efrat Dor, will be shown in Cannes' Directors' Fortnight after initial speculation that it was boycotted, alongside Or Sinai's "Mama" in Cannes Special Screenings.
- What is the significance of Nadav Lapid's "Yes!" being included in the Cannes Film Festival's Directors' Fortnight section, considering previous speculation of a boycott?
- Nadav Lapid's new film, "Yes!", will premiere at the Cannes Film Festival's Directors' Fortnight section. The film, starring Ariel Bronz and Efrat Dor, is set against the backdrop of the October 2023 Gaza war and depicts a jazz musician and his wife selling their art to the elite. Its inclusion follows speculation of an unofficial cultural boycott of Lapid's work.
- How does the context of the October 2023 Gaza war impact the narrative and reception of "Yes!", and what are the broader implications for Israeli cinema's representation internationally?
- Lapid's previous film, "Ahed's Knee," won a Jury Prize at Cannes, leading to surprise at its absence from the main competition this year. The selection of "Yes!" for Directors' Fortnight, while not the main competition, suggests a resolution to the perceived boycott, although it's unusual for past main competition winners to be shown in a different section.
- What are the potential long-term implications of this perceived cultural boycott and its apparent resolution for the future representation of Israeli filmmakers and their political stances on the global stage?
- The inclusion of "Yes!" in Cannes, after initial speculation of a boycott, indicates potential shifts in the international perception of Israeli cinema and the political climate surrounding it. Lapid's activism, as seen in his December 2023 letter calling for a Gaza ceasefire, may have influenced this perceived boycott and subsequent inclusion.
Cognitive Concepts
Framing Bias
The article frames the story primarily around the political controversy surrounding Lapid's film and its eventual inclusion in the Directors' Fortnight. This emphasis might lead readers to focus more on the political aspects than the artistic merit of the film itself. The headline and opening sentences highlight the political dimensions immediately, setting the tone for the rest of the piece. The inclusion of Lapid's political activism and the mention of 'unofficial cultural boycott' further reinforces this political framing.
Language Bias
The article uses relatively neutral language, but phrases like 'eyebrows were raised' and 'spoke off the record' suggest speculation and imply a sense of intrigue or conspiracy surrounding the film's initial exclusion from the main competition. These phrases introduce a slightly subjective tone. Replacing 'eyebrows were raised' with a more neutral description of the reaction, and avoiding the vague and potentially loaded "spoke off the record" would improve neutrality.
Bias by Omission
The article focuses heavily on Nadav Lapid's career and the political context surrounding his film's inclusion in the Cannes Film Festival. However, it omits details about the film's critical reception, box office performance (if applicable), or audience response. While space constraints might explain some omissions, the lack of information on these aspects limits a complete understanding of the film's impact and success beyond its political implications. The article also only briefly mentions Or Sinai's "Mama" and doesn't provide details of its critical reception or plot summary beyond a brief description, suggesting a potential bias towards Lapid's film.
False Dichotomy
The article presents a somewhat false dichotomy by framing the exclusion of Lapid's film from the main competition as either a deliberate 'unofficial cultural boycott' or a simple oversight later rectified. The possibility of other, less politically charged reasons for the film's placement is not explored. This simplification may overemphasize the political dimension and neglect other factors influencing festival programming decisions.
Gender Bias
The article mentions both male and female actors in Lapid's film, and also features a female director, Or Sinai. While there is no overtly biased language, the article focuses more on the director's political stance than on the contributions of individual actors, regardless of gender. More balanced representation of the actors' contributions would enhance the article.
Sustainable Development Goals
The article highlights Nadav Lapid's involvement in a letter calling for a ceasefire in Gaza, the release of hostages, and humanitarian corridors. This directly supports SDG 16, which promotes peaceful and inclusive societies for sustainable development, providing access to justice for all and building effective, accountable, and inclusive institutions at all levels. The inclusion of Lapid's film, despite potential political pressures, can also be seen as a positive contribution to open dialogue and artistic expression, crucial elements for a peaceful society.