After serving up three very potent films over the past decade, Israeli director Nadav Lapid issues forth a shrill and strident screed in his fourth feature, Ahed’s Knee (Ha’Berech).
Undeservedly included in the Cannes competition, this rough and hasty-looking outing is nothing short of a bilious broadside of anger at and resentment toward anything to do with the Israeli government.
Its utter lack of shrewd argument or intelligent insight makes the result simply seem like the upchuck of a bitter, extremist mindset.Ahed’s Knee, however, conveys nothing but vile disgust with anything to do with Israel; so shrill and negative is the film’s perspective that its best commercial prospects would no doubt lie in the neighboring Arab countries.
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