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Eric Adams wants to combat hate in NYC through interfaith dinners. Can that accommodate Orthodox Jews?
(New York Jewish Week) — Mayor Eric Adams is famous for his love of the city’s nightlife, and that mood was on display last Thursday as he hobnobbed with more than 100 people at the 40/40 Club, an upscale bar and restaurant in the Barclays Center, while dining on lamp-warmed samosas and chicken skewers.
The gathering came with a goal: to jumpstart a program, called “Breaking Bread, Building Bonds,” that aims to bring together leaders of the city’s diverse ethnic and religious communities over food. The attendees, mostly city workers and nonprofit employees, were there to experience what such a dinner could feel like, and to learn how to host one of their own.
“We are going to finish with 1,000 dinners,” Adams said, speaking to the crowd. “Ten thousand people will become ambassadors for our city. Then those 10,000 people will branch out and do their dinners, turn into 100,000. We will continue to multiply until this city becomes a beacon of possibility.”
The dinner initiative was conceived with the Jewish community at its center — launching at a JCC in partnership with one of the city’s biggest Jewish nonprofits. Now, it faces an additional hurdle: Engaging the large haredi Orthodox communities in Brooklyn that have experienced a series of street attacks — and that observe a set of strict religious laws surrounding food that could hinder their participation in some interfaith meals.
Some haredi New Yorkers have attended the “Breaking Bread” dinners, and members of at least one large Hasidic community are planning to host one of the meals. But other haredi activists in the city told the New York Jewish Week that they’re skeptical the program can be sufficiently sensitive to their dietary and religious restrictions, which include close adherence to kosher laws and, for some, gender separation at public events.
The first catalyst dinner for New York City Mayor Eric Adam’s ‘Breaking Bread, Building Bonds’ initiative was held at Barclays Center on Thursday, March 2. (Jacob Henry)
Speaking on the sidelines of last week’s dinner, Adams said the initiative does account for the needs of observant Jews. When he held similar dinners as Brooklyn borough president in 2020, he said, the meals were always “considerate of Shabbos.”
“We allow the dinners to happen throughout the week,” Adams told the New York Jewish Week. “Those who can’t come on a Friday night or until sundown, we do that. If they eat kosher, we do that. We keep the meals simple, nothing complicated, so that everyone can feel at home at the same time.”
But the event where Adams was speaking did not, in fact, include kosher food, according to Rabbi Shlomo Nisanov, who leads Kehilat Sephardim of Ahavat Achim, a Bukharian community synagogue in Kew Gardens Hills, Queens.
“It was a mistake,” Nisanov said. “I didn’t eat the food, I only had the drinks. I was complaining about it.”
However, three of the dinners hosted so far have been certified kosher, and many local Jewish activists — including Orthodox leaders — said they support the initiative and believe it can accommodate a broad portion of the city’s Jewish spectrum.
Devorah Halberstam, an adherent of the Chabad-Lubavitch Hasidic movement and longtime campaigner against antisemitism, said she plans to host a dinner in the future.
“It’s actually not that complicated,” said Halberstam, who serves as director of foundation and government at the Jewish Children’s Museum in Brooklyn. “You invite people to a table and you have conversations. If it’s Muslims, we’ll have halal stuff covered. Kosher food is in another setting. Ultimately, it ends up working.”
The initiative aims to hold 1,000 dinners across the city that bring together community leaders in the hope that eating together will foster mutual understanding that will trickle down to rank-and-file New Yorkers of different backgrounds. At the kickoff event at the Marlene Meyerson JCC on the Upper West Side in late January, Adams called the dinners a “potent weapon” against hate.
Breaking Bread is supported by multiple city agencies and Jewish organizations, including the UJA-Federation of New York; the Jewish Community Relations Council of New York; The People’s Supper, a non-profit that facilitates meals between people of different identities that began holding similar dinners in 2017; and the New York City Office of the Prevention Of Hate Crimes, which is overseen by the mayor. UJA is partially funding the program by reimbursing up to $150 per dinner.
The Adams administration, and organizations supporting Breaking Bread, declined to provide key pieces of information about the initiative, including a budget, list of hosts or people who had signed up or a list of scheduled dinners.
The initiative is designed around dinners of roughly 10 people each. The host is given a guide that includes instructions on how to facilitate a dinner and sample questions to ask fellow diners. One question asks attendees to describe “a time, recent or long passed, in which you were made to feel… fully seen, heard and like you fully belonged.”
Rabbi Bob Kaplan, who is the executive director of the Center for a Shared Society at the Jewish Community Relations Council of New York, told the New York Jewish Week that the organization is “taking this program very seriously.”
“We will be looking to encourage as much of this as we can throughout the city,” Kaplan said. “We really think that Breaking Bread opportunities are incredible ways of bringing together leadership and community leaders to really talk to each other.”
The few dinners hosted thus far have included religious leaders, city officials and leaders of nonprofit organizations. Anyone can sign up to host or attend a dinner via a city website. Hassan Naveed, executive director of the OPHC, told the New York Jewish Week that thus far, nearly 500 people have signed up as hosts or participants.
“There is so much interest happening,” Naveed said. “We want this to be something that is movement-building, that brings folks together from different parts of the city, to really build a relationship between communities.”
There have been several dinners in the weeks since Breaking Bread launched, including one that Naveed attended last month at Talia’s Steakhouse, a kosher restaurant on the Upper West Side, where the mayor himself made a brief appearance. Diners ate Jamaican cuisine, served by chef Kwame Williams, in honor of Black History Month. Other attendees ranged from a senior city official to Tenzin Tseyang, a community liaison for Queens City Councilmember Julie Won; UJA’s Rabbi Menachem Creditor and others.
Other dinners have taken place at the Manhattan JCC and at Manhattan College, both of which were also kosher. The JCC dinner included the executive director of the New York City Anti-Violence Project and a representative of the Asian-American Foundation, in addition to Jewish leaders and cosponsors of the initiative.
“Those who are seated around the table with one another will be able to call on one another for both simple and hard things,” said Rabbi Linda Shriner-Cahn of Congregation Tehillah in the Bronx neighborhood of Riverdale, who hosted the Manhattan College dinner. “When we strengthen our own communities, we’re more able to reach out to other communities.”
Bringing New Yorkers together to break bread is one of the best ways we can talk through differences and defeat the pipeline of hate.
Last night’s Breaking Bread Building Bonds event at Talia’s Steakhouse on the Upper West Side did just that. pic.twitter.com/Meugkqdt7Q
— Mayor Eric Adams (@NYCMayor) February 17, 2023
Nisanov, the Bukarian rabbi from Queens, said he believes in the concept and has hosted his own dinners with neighborhood Muslim leaders.
“We sat together at my synagogue with people from the Muslim faith because people didn’t know each other,” Nisanov told the New York Jewish Week. “Now, they know that kosher is the same as halal.” (Jewish and Muslim dietary laws are similar, but they are not the same.)
The initiative has not yet involved some large segments of the Brooklyn haredi community, including a major Satmar Hasidic organization. Moishe Indig, a prominent activist affiliated with another faction of Satmar, and a close confidante of the mayor, has also not attended. City Council member Lincoln Restler, who is Jewish and represents South Williamsburg, which is home to a large number of Satmar Jews, told the Jewish Week in a statement that he is “in touch with City Hall and eager to convene Breaking Bread gatherings” in his district.
“This is a wonderful new initiative building on the mayor’s work as borough president,” Restler said. “We will never arrest our way out of hate violence, so we need to deepen cross-cultural understanding to address our collective safety.”
Adams does have a close relationship with the Hasidic community. The mayor appointed Joel Eiserdorfer to the role of advisor in his administration, the first Hasidic Jew to hold that title. Adams received considerable Hasidic support in his 2021 election victory.
But despite that relationship, some Orthodox leaders and activists still have their doubts that the dinner initiative will successfully engage the haredi community. Some spoke to the New York Jewish Week anonymously, out of a fear that their criticism could hurt their community’s relationship with the mayor.
One Orthodox leader who works in government told the New York Jewish Week that “at this moment, it feels like this initiative doesn’t exist.”
“Personally everyone is rooting for the mayor on this,” the leader said, but he added that the initiative was “not comprehensive” in terms of reaching out to major Orthodox groups.
“Most of us haven’t heard of it,” another Orthodox community activist said. “The mayor’s head is in the right place. I’m sure this program is well-intentioned.” But he added, referring to kosher restrictions and norms of gender separation, that ”on a practical level, it’s hard to see how it will work in this community.”
He added that he believes leaders in the Hasidic community may participate, but “we don’t need to bring together leadership… We need people on the street to understand each other.”
Nisanov believes the Breaking Bread dinners can help accomplish that task by helping community leaders influence their constituents.
“It starts from the leaders and it goes down to the regular people,” he said. “It’s going to take a while, but at least when the elders do it, it will trickle down to the young. We will have to include young people to show and explain.”
He said that there are some people within the Jewish community who “would like to live in a secluded world.”
“That’s not possible,” Nisanov said. “There will always be restrictions. God will not change. We will always have that, but we have to learn to coexist.”
Motti Seligson, a Hasidic communal leader and Chabad spokesman, told the New York Jewish Week that “there are dinners already planned in neighborhoods like Crown Heights that will certainly have participation from the Hasidic Jews.” He added, “Building these bonds is something that Mayor Adams has not only seen and experienced first hand… he also created many of them through events like the Breaking Bread dinners in Brooklyn, which he organized.”
Deborah Lauter, the inaugural director of the OPHC, said Breaking Bread “has enormous potential” but acknowledged that navigating the range of haredi groups takes time.
“There are so many different factions within the haredi community,” Lauter said. “Some will be more inclined to participate than others. There’s a lot more work to get people on the ground to know each other.”
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5th man charged in March arson of London’s Hatzola ambulances
(JTA) — Britain’s Crown Prosecution Service announced Tuesday that an 18-year-old man has been charged in connection with the March arson attack that destroyed four ambulances owned by Hatzola, a Jewish volunteer emergency service.
Subhan Ahmed, a British national, was charged on Monday with “assisting an offender” in connection with the arson.
The ambulances were set ablaze in the early morning of March 23 in Golders Green, a heavily Jewish neighborhood in London. The incident spurred increased patrols in Jewish communities.
The charge is the latest development in an investigation being led by the Metropolitan Police’s counter-terrorism unit.
Four others have already been charged in connection with the attack.
Three British nationals — 20-year-old Hamza Iqbal, 19-year-old Rehan Khan and 18-year-old Judex Atshatshi — along with a 17-year-old dual British and Pakistani national were all charged in April with “committing arson, destroying or damaging property, and being reckless as to whether life would be endangered.”
The four have remained in custody ahead of a trial planned for January. Ahmed, meanwhile, was released ahead of a June 16 court date.
The ambulance arsons came at the early edge of a wave of incidents that have put London Jews on edge and induced the city’s police force to step up their presence in Jewish communities. The incidents have included multiple incendiary devices placed near synagogues as well as the stabbing in April of two Jewish men in Golders Green. The Metropolitan Police reported last week that antisemitic hate crimes in the capital rose 72% in May.
Following the announcement of Ahmed’s charge, the Community Security Trust, a Jewish organization, thanked the police and the Crown Prosecution Service “for their ongoing work investigating this attack and other arson incidents targeting the Jewish community.”
It added in a statement, “These are very serious allegations, and it is right that those responsible are being held accountable.”
This article originally appeared on JTA.org.
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Israel boycott battle intensifies at Venice Art Biennale, testing tradition of inclusion
The anti-Israel protests that disrupted the opening of the Venice Art Biennale continue to escalate, with more than 100 artists and curators declaring last week that they will bring legal action against Biennale authorities if their names are not removed from consideration for what in normal times are coveted awards for best artist and best national exhibition.
It’s just the latest battle between activists seeking to shut down Israel’s art exhibition in Venice and the Biennale’s administration who are committed to keeping it open.
Chaos erupted in the streets on the third day of the biennale’s opening last month as demonstrators engulfed the Via Garibaldi chanting Palestinian liberation slogans during their march toward an art exhibit hosted by Israel, held back by Italian police in riot gear. The demonstration was organized by the Art Not Genocide Alliance (ANGA), a coalition of artists and art industry workers campaigning to ban Israel from participating in the world’s most prestigious art show.
ANGA’s agenda is reverberating throughout the Biennale, which is structured around a main international show that this year is hosting 110 invited artists, 100 national exhibitions and 31 official art shows. Many of the artists now threatening legal action first signed a letter this past March demanding that the directors of the Biennale exclude Israel’s exhibition from the show.
Just before the exhibition opened, the Venice Biennale’s five-member international jury — which oversees the prestigious Golden Lion for best artist and best national pavilion — announced that, in keeping with the spirit of the main international exhibition curated by the late Cameroonian art impresario Koyo Kouoh, who appointed them, it would “refrain from considering those countries whose leaders are currently charged with crimes against humanity by the International Criminal Court” — namely, Russia and Israel.
Belu-Simion Fainaru, representing the Israeli pavilion, reportedly responded by threatening that if he were excluded from consideration for the awards, he would sue the Biennale in the European Court of Human rights on grounds of antisemitism and nationality-based discrimination. Facing potential legal liability, all five jurors took the unprecedented step of quitting. The Biennale administration then announced that the juried awards would be replaced with Visitor Lions Awards, a popular vote by visitors to the show.
It’s that substitute award that the ANGA-allied artists are now renouncing.
There also have been attempts from the other end of the political spectrum to silence artists representing South Africa and Australia because of alleged anti-Israeli biases. Indeed, the 2026 Biennale, which opened on May 9 and runs through November 26, has become a referendum on artistic freedom of expression and on the place in the cultural sphere of the movement to boycott Israel. “Boycott the Genocide Pavilion,” the brochure ANGA demonstrators handed out at their demonstration stated, “For decades, the Venice Biennale has handed Israel an international stage to culturewash its occupation of Palestine,” and stated that in doing so Biennale authorities are helping to “normalize the ongoing decimation of an entire population.”
The president of the Venice Biennale, Pietrangelo Buttafuoco, has refused to cede ground. “Closing the door to some means making openness to others more fragile,” he argued in an impassioned speech announcing the opening of the Biennale’s 61st International Exhibition, adding, “if the Biennale began selecting not works but affiliations, not visions but passports, it would cease to be what it has always been: a place where the world meets, especially when the world is torn apart.”
Serene space
When I stepped into the Israeli exhibition, it seemed to be an invitation to leave behind the fractious world outside. The transcendent artwork, inspired by Paul Celan’s poetry, consists of a large rectangular pool in a tranquil space where the only interruption is the soothing sound of dripping water.
Given Israel’s destructive bombing campaigns, first in Gaza and now in southern Lebanon, presenting Fainaru and his serene artwork to represent the country is a fraught choice. Fainaru lives in Haifa, one of Israel’s most culturally diverse cities, and is a professor at Haifa University, where he told me the rector is Palestinian and more than 50% of his students are Arabs. Fainaru said that his art is about bringing people together and “collective consciousness,” and he argued it should be viewed outside of the political prism that has roiled the Biennale in recent years. “This environment is becoming more and more about boycott, censorship, limitation of freedom, exclusion,” he said, adding “that’s changing the meaning and role of art.”
Some observers who study censorship say the national pavilions at the Venice Biennale have always functioned as cultural diplomacy and in many instances are a form of “artwashing,” a term that refers to the ways that governments and corporations utilize art exhibits to obscure or gloss over unethical policies.
“Clearly they are an attempt to make a country look better, but on the other hand there is something in the art that exceeds the national ambitions,” Svetlana Mintcheva, former director of programs at the U.S,-based National Coalition Against Censorship, said in a phone interview, adding: “It’s counterproductive to censor because it then homogenizes everyone in that particular country as holding particular ideas and that’s not the case.”
The censorship campaign against Israel and Russia took place against the backdrop of the main international exhibition “In Minor Keys,” which emphasizes anti-colonialist themes and the utility of art as a means of reconnecting to local and indigenous practices. The leitmotif of the show, which primarily emphasizes art from the African diaspora, chimes with ANGA’s agenda to give voice to a Palestinian culture that the group claims has been sidelined by Israel’s “colonial expansion.”
Some artworks in the international exhibition address the Palestinian displacement and trauma, while none deal with Hamas’s Oct. 7 massacre or Israel’s wounds.
Gazan artist Mohammed Joha, who signed a March 26 ANGA petition calling for the exclusion of the Israeli pavilion, is exhibiting No Shelter, which the artist made while witnessing the conflict in Gaza. The work consists of collages made from discarded paper, fabric and cardboard intended to call attention to the cycles of destruction and rebuilding that Palestinians endure. Haitian artist Manuel Mathieu’s Genocide portrays a dark sea alongside what looks like pummeled charred flesh. British Ethiopian artist Theo Eshetu’s Garden of the Broken Hearted includes a rotating dais with a live olive tree, a symbol of Palestinian resilience.
And Kouoh and her team gave pride of place in her show to artists who have been victims of Israel’s conflicts. The very first exhibit to greet visitors at the entrance of the massive Arsenale, a brick linear hall serves as the main exhibition space, which t originally was part of Venice’s Renaissance-era ship building complex, features the poem “If I must Die,” by Palestinian poet Refaat al-Areer, which he posted to social media in late 2023, about a month before he was killed along with several of his family members by an Israeli airstrike in Gaza. The poem, which has become a rallying cry for Palestinian activists, sits below a canvas portraying a disembodied face with penetrating eyes against a fractured background by Issa Samb, a Senegalese artist known for his anti-colonial themes.
The subsequent exhibition at the Arsenale is a monumental multi-media installation titled Khalil by Australian artist Khaled Sabsabi, a former refugee from the 1976 Lebanese Civil war. Sabsabi is also representing Australia at its national pavilion in the nearby Giardini fairground.
Khalil, which was originally intended to be displayed at the Australian Pavilion, was intended as a meditation on Sufi mysticism. It consists of digital projections on a canvas painted in acrylic with swirling shapes, accompanied by sonorous background music and the piped in scent of Oud, which is used in Middle Eastern perfumery.
But Kouoh’s invitation to Sabsabi to exhibit at the Arsenale, which she extended after he was temporarily disinvited from showing the work at the Australian Pavilion, appears to have as much to do with his notoriety as it does his artistic merit. Sabsabi’s commission to exhibit at the Australian Pavilion was canceled after conservative Australian members of parliament and right-wing newspapers denounced him as promoting antisemitism and terrorism over work he had produced in the past, notably YOU, a 2007 multimedia piece that portrays multiple images of former leader Hezbollah leader Hassan Nasrallah.
Australia’s Museum of Contemporary Art (MCA), where the You is on permanent display, originally described the artwork on its website as “obscuring Nasrallah’s face with beams of light that shine from his eyes and mouth, suggestive of a divine illumination.” But last year, after Sabsabi was dropped from representing the Australian Pavilion, the MCA engaged in an act of self-censorship by removing the section of text deifying Nasrallah and updating the description of the artwork to inform viewers that: “The Australian Government listed the entirety of Hezbollah as a proscribed terrorist organization in 2021.”
Meanwhile, subsequent larger furor in the international arts community over Sabsabi’s being censored led to an independent review, which resulted in the reinstatement of his invitation to show at the Australian Pavilion, greatly raising his profile.
Another controversial figure is Gabrielle Goliath, the video and performance artist invited to represent South Africa, was the only artist to be officially banned. Elegy, the work she had planned to show, is a performative piece about gender and LGBT violence that has also addressed the killing and displacement of Palestinian women. But Goliath’s commission was canceled and the South African pavilion shuttered by the country’s culture minister Gayton McKenzie, a vocal supporter of Israel, who reportedly deemed Elegy “highly divisive in nature and relates to an ongoing international conflict that is widely polarizing.”
After an unsuccessful lawsuit accusing the South African government of unlawfully revoking her commission, Goliath was relegated to presenting Elegy in a rented church in Venice. This version of the work she exhibited there features eight “funereal screens,” with women singing and commemorating female victims of violence, including a murdered South African student and the Palestinian poet Heba Abunada, who was killed in an Israeli airstrike on Gaza in 2023.
The closing of the South African pavilion didn’t stifle Goliath’s voice and, as with Sabsabi, the controversy over her being canceled may have given her a larger platform. After Venice, Elegy will be traveling to London before moving onto Milan.
It’s difficult to imagine Fainaru’s message of “collective consciousness” finding a similar welcome in arts venues throughout Europe and the United States.
Recent events in Venice and elsewhere suggest that the cultural boycott campaign is gaining momentum, putting freedom of expression under increasing strain. And it’s not just principles that are at stake. Closing Israel’s exhibition in Venice and further marginalizing Israeli artists works at cross-purposes with efforts to achieve mutual understanding and peace in the Mideast. “The price of cultural boycotts is quite high, says Mintcheva of the National Coalition Against Censorship, “because you limit any kind of exchange and you limit understanding of dissent within a country like Israel.”
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Their sons are fighting for Israel, and it’s driving them mad
Oxygen and A Burning Man, two films showing at the Israel Film Center Festival, zero in on the deep-seated anxiety Israeli parents face when their sons are called to duty. Though both are flawed, each captures the universal experience of parents yearning to protect a child from outside forces that they cannot control, yet on some level helped create. They tell personal stories that are also political.
The films evoke a world where war and the threat of war are constants. The sound of warning sirens and drones abound. A repeated scene in Oxygen features apartment dwellers dashing down darkened stairways to the basement for shelter as the alerting alarms shriek in the distance.
Oxygen and A Burning Man are singularly Israeli films — I’m not sure they could be made anywhere else — and on many fronts they are stunners.
Netalie Braun’s Oxygen forges a claustrophobic space. Even the title summons forth the image of gasping for air.
The opening scene metaphorically hints at airless entrapment. Anat (brilliantly played by Dana Igvy) and her child are romping about in the waves. They are neck high in water and appear to be in the middle of the ocean. The moment conjures a nostalgic portrait, but a touch of surreal menace is also present. So too is the openly erotic relationship between mother and son, bordering on incest. They touch each other and their bodies intertwine. And later, when her son Ido (Ben Sultan) is an adult, Anat becomes even more obsessed with him.
Though Ido completes his tour of duty and is coming home, as skirmishes break out on the northern border, he volunteers to return to combat. Anat feels abandoned, betrayed and enraged. Her over-protective maternal instincts kick into high gear as she sets out to get her son discharged from duty. Storming onto the off-limits army base to confront the powers that be, Anat succeeds only in demeaning herself and publicly humiliating her already infantilized son.
Anat’s life is further complicated by her relationship with her larger-than-life warrior father (film producer Marek Rozenbaum) who suffers intense PTSD episodes thanks to his experiences in earlier wars. Sweating and shaking, he belly crawls across the living room floor as if heading to a foxhole. Anat blames his jingoistic furor for boosting Ido’s determination to be a military hero. “You wanted him to be a martyr,” she accuses her father.
He, in turn, reminds her that she gave her written permission for Ido to serve even though she had every right to refuse on the grounds that he was an only son. Anat has grown opposed to Israel’s policies, perhaps even moving towards pacifism, and these feelings are at odds with her own national tribalism. Duality is everywhere.
The final section of the film is enigmatic. It’s unclear to me if what we’re witnessing is real or Anat’s dreams or imaginings or combinations thereof.
She has managed to get her son a temporary leave of absence to celebrate his birthday, which slowly morphs into an explosive celebration that feels more like purgatory than a joyous occasion.
“My mother would do anything for me!” Ido bellows and the large crowd at the shindig repeats the words, growing louder with each repetition. “Anything!” “Anything!”
In a last ditch effort to save him from returning to the base, Anat drugs him, rendering him unconscious. She’s driving away with him, blindfolded and shackled in the passenger seat.
At the coda, he has shape-shifted into a child again and she’s carrying him, cradled in her arms, onto a ferry’s empty vehicle deck. No cars. No workers.
What’s happening in this flight of fancy? Anat successfully protecting her son who will always be a baby in her eyes? Still, one wonders where her adult son is at this point in the story. Perhaps I’m being too literal-minded.
I wish I could say the film’s resolution is hauntingly ambiguous, but alas for this viewer, it’s just confusing. Still, despite the shortcomings, the film starkly brings to life the anguished experiences of a parent and an adult son trying to survive and failing dismally in a war-ravaged universe that celebrates nationalism and extols sacrifice, coupled with a particularly unsettling mom-son relationship.
Eyal Halfon’s A Burning Man is the more successful of the two films. Set outside a remote army base on a stretch of endless sun-baked desert it immediately elicits an atmosphere of oppressive tedium, pointlessness and futility. It has its Beckettian elements and absurdity is never far from the surface.
Yonah (Shai Avivi who gives a complex understated performance) cannot let go of his child, Omer (Ran Kaplan) and instead of depositing his son at the bus terminal to make the trip on his own, he camouflages his own anxiety by lightly dubbing the three-hour drive across the flat no man’s land a father-son road trip. Throughout much of the ride, Omer is sleeping and when they arrive at the military outpost he departs for his tour of duty with a wave of the hand.
Driving home, Yonah sights a convoy of military vehicles on flatbeds heading towards the garrison, their presence further provoking his deepest fears. He spins around and speeds back to the base.
He asks one of the drivers what the armored carriers will be used for. “Maybe maneuvers, maybe exercises,” he shrugs, not especially interested. But in an unexpected gesture of friendship he gives Yonah a sandwich. The scene is at once comic, poignant and unexpected.
Yonah’s most trenchant and arguably least subtle encounter is with an aging motorcyclist (Benny Avni) who brags about his son having dumped the national service to make animated films instead of working for “Netanyahu’s freaks.” The usually impassive Yonah is triggered, accusing the man’s son of being a “shirker,” “a privileged leech.” It’s a confrontation many Israeli parents, especially those who have children serving tours of duty, might find all too relatable.
Yet Yonah, like Anat, is an amalgam of contradictions when it comes to politics. Later in the film, he meets up with a deserter and desperately tries to defend him when the arresting officers arrive on the scene. They lock arms with the defector, marching him down the hill away from Yonah who screams words of encouragement to him as the threesome recede into the distance.
Let’s not forget our hero’s name is “Yonah” (translation Dove, bird of peace). It’s heavy-handed. I could also have done without the repeated closeups of babblers, small desert birds, known for their cooperative social behavior. Creatures who embody life lessons I suppose.
At one point, Yonah’s zealously religious real estate agent (Vladimir Friedman) arrives on the scene sporting a yarmulke, tzitzit, and frequently quoting biblical text. He is there both to try to sell Yonah an apartment but also to help a fellow Jew who he understand is in trouble. But nothing goes right. Yonah does not welcome his company, his car has broken down and he grows increasingly terrified in the desolate desert, especially as night falls. This segment has some great comic moments.
Along the way, Yonah enjoys an erotic brush with a nubile young woman who is part of a hippie commune, and is helping to set up a “Burning Man” festival in the desert. It’s inspired, she says, by the annual countercultural event in Nevada.
In the final scene, we’re presented with a stoned Yonah dancing wildly about, first by himself in a psychedelically altered desert and then in the middle of the pop-up festival, which is even more hallucinogenic with its strobe lights flashing, music blasting and congested crowds stomping and gyrating. Jonah’s dancing becoming progressively more intense and out of control.
But in the end, it is a hollow, totally meaningless Bacchanalian eruption. The scene takes on a mythic flavor, punctuating both visually and emotionally, all the events that have led to this moment. Yonah is a burning man. He, along with Anat, both living in a neverending combat zone and forever anguished over their sons’ potential fates, have perhaps become a new Israeli archetype.
‘Oxygen’ and ‘A Burning Man’ are being shown as part of the 14th annual Israel Film Center Festival in New York City, June 9-16.
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