Quelle surprise. The Cannes 2020 label anoints two Israeli films from male directors, both about father-son relationships and grieving. The superior by a country mile is the seamlessly accomplished “Here We Are” from veteran helmer-writer Nir Bergman. And then there is the grandiosely titled “The Death of Cinema and My Father Too,” an ambitious, low-budget exercise from feature debutant Dani Rosenberg that offers a sometimes artful but more often self-indulgent mashup of fiction, reality and home movies. Although definitely not for all tastes, the Cannes designation may nudge this item into further fests and niche sales.
As we learn from watching, “The Death of Cinema” is the result of a complicated evolution. Earlier, Rosenberg, a Sam Spiegel Film School graduate, received a grant from the Israel Film Fund to make “The Night Escape,” a comic drama that would exploit both national and personal paranoias. He planned to cast his businessman father Natan in the lead.
As we learn from watching, “The Death of Cinema” is the result of a complicated evolution. Earlier, Rosenberg, a Sam Spiegel Film School graduate, received a grant from the Israel Film Fund to make “The Night Escape,” a comic drama that would exploit both national and personal paranoias. He planned to cast his businessman father Natan in the lead.
- 7/1/2020
- by Alissa Simon
- Variety Film + TV
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