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Sarah Adler and Guests - Women In Film Pre-Oscar Cocktail Party at Hyde Sunset Kitchen + Cocktails - Los Angeles, California, United States - Friday 20th February 2015

Jellyfish Review

By Chris Barsanti

Good

Like figures in a Robert Altman film left too long in the sun, and who possibly never had that much going on upstairs to begin with, the characters of Etgar Keret and Shira Geffen's Jellyfish wander about and go missing in their own lives, eventually washing up on the Tel Aviv beach like the silent hulks of dead jellyfish scattered across the sands. There's action and episode here, but little purpose or necessity, just people trying to find their way in a world that baffles them with its willful obtuseness, and more often than not, gets them lost in the process. Everything comes back to the sea.

With the only real connective tissue among them being the grey and somewhat mournful Mediterranean and a certain cluelessness about their lives, the three women whose stories constitute Jellyfish seem specialists in not getting what they want. The most painful to behold is Batya (Sarah Adler), a dizzy-headed and recently-dumped young woman who waitresses at a wedding reception hall and always seems on the verge of getting fired. (And who could blame her? It's the kind of place that requires waitresses to wear bachelorette party-style tiaras while working.) Unable to connect with her father, a clueless old fool with a nervous anorexic of a new girlfriend who's about Batya's age, or her mother, who's too busy organizing charity functions to pay much attention to her child, Batya only seems to focus when she finds herself the unwitting guardian of a nameless and mute young girl (Nikol Leidman) who seemed literally to wash up on the beach.

Continue reading: Jellyfish Review

Notre Musique Review

By Christopher Null

Subtitled "an essay," Notre Musique (literally "our music") is exactly that -- an almost clinical research paper from the 74-year-old Jean-Luc Godard about how cruel the world is -- particularly in southern Europe and the middle east. The film is basically formless, broken into three segments (Hell, Purgatory, Heaven), each ironic in its own way. Heaven, for example, is set on a beach that is surrounded by a fence and American guards.

Continue reading: Notre Musique Review