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
The film is composed of three separate stories about people searching for their relatives, all of whom have had lives forever changed by the horrors of the World War II. The first story begins with a group of French Holocaust survivors who make a pilgrimage to Auschwitz. On the way, they stop at an old Jewish cemetery, passing by monuments to the victims of the Warsaw Ghetto in Poland. Before reaching the site of the Jewish death camp, the bus in which they travel breaks down. In distress, they argue and reminisce about their past; when they interact, the lost world of Eastern European Jewry echoes in their intonations, gestures, and language.
Continue reading: Voyages Review
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