"Independence" with Assi Cohen pushes Israeli cinema forward
Everyone can see themselves in the child hero of "Independence", even if their biographies have no point of overlap: that's what happens when a film gathers within it everything beautiful in Israel, and in the same breath easily exceeds the standard. Many, many local cinema icons can only envy Moshe Rosenthal.
Assi Cohen can stare at the camera with a blank face and still make an entire cinema hall laugh out loud. This is probably the reason why 15 years have passed since the last time he acted in a movie, and even more since that movie was a drama. So how do you save Cohen from the comic relief slot? You embrace the humor with both hands, ensure it isn't just a relief — and above all, you entrust the directing and script to the hands of Moshe Rosenthal.
In "Independence", Rosenthal expands his cinematic-Holon universe, this time with a double period reconstruction. In 1987, a plot is presented that reminds one of "Yeled-Hara" (Bad Boy), only with a boy who is not bad at all (Yair Mazor) who discovers a shocking secret about his father (Cohen); a decade later, the same Boaz (this time played by Ido Tako) gathers these demons of the past for a coming-of-age story that is spectacular in its wisdom. The description of the film must be concise because it involves revelations that the viewers and the hero learn about together as they go.
Everyone can see themselves in it, even if their biographies have no point of overlap: that's what happens when a gifted creator knows how to build a personal and local story that still feels universal, and when a film gathers within it everything beautiful in Israel while easily exceeding the local standard. But the period reconstruction of "Independence" is not just a matter of a perfect playlist, small details, or costumes — because Rosenthal's film not only captures the spirit of the era accurately, but knows how to channel it for the benefit of the plot.
The sublime combination of form and content has become the director's trademark; he knows how to give space to the most casual family actions and loves his characters without cutting them any slack. Despite their relatable wretchedness, he finds a way to turn them one by one into queens. Four years ago, Rosenthal brought his first film, "Karaoke", into the world, which is considered a peak of Israeli creation. Now, with the no less sublime "Independence", he has already broken the record for nominations for the Ophir Award.
Many local and veteran cinema icons can only envy the talent of the 40-year-old, who in the span of two films has positioned himself in a completely different league. As of now, the biggest competitor facing Moshe Rosenthal is the next film he will direct. Until "Independence" receives the love it deserves, and it is possible to decide which 80s singer will receive her Kate Bush moment from it — a tight competition between Tova Gartner and Ilana Avital — one wants to keep complimenting him non-stop.
Alongside excellent acting performances by those already mentioned, as well as young Mor Dimari and Neta Orbach in the roles of the sisters, the main astonishment is reserved for theater actress Keren Tzur, who receives a gift identical to the one "Karaoke" gave to Rita Shukron. The camera does not stop moving for a moment, enhancing Rosenthal's ability to create singular, unforgettable scenes. The script is accessible, smart, and not pretentious, allowing the viewer to trust it even when it builds the story contrary to the traditional order of operations. "Independence" constitutes a cinematic grade advancement for Rosenthal, and without being experimental in any way, it pushes all of Israeli cinema forward.
