“Toward the end of “Foxtrot,” a hauntingly powerful drama from Israel, the venerable ballroom dance gets a brief mention. “No matter where you step, you end up at the same starting point,” says the hero, Michael (Lior Ashkenazi), an architect, husband and father who has been seized, then reseized, by inconsolable grief. That’s not true, though. Foxtrotters can cover the whole dance floor if they choose. Michael’s description reflects his own doomy sense of entrapment in a life he has lived incompletely, one he hardly understands.
The starting point of the film, which was written and directed by Samuel Maoz, is a shocking piece of news, followed by faint absurdist signals that the story may have other dimensions. Drink plenty of water, the bringers of the news advise gently but insistently. They seem to think it will mitigate the shock, and provide a water-drinking reminder in the form of a smartphone app that keeps chiming at solemn moments. This is something you need to know about “Foxtrot”—not its emphasis on hydration, but its subversive way of telling a story that’s deeply serious with help from droll flourishes and surreal images that take up long-term residence in the mind’s eye.”
Taken from: “‘Foxtrot’ Review: A Dance of Grief”, written by Joe Morgenstern, for The Wall Street Jornal, March 1, 2018.
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