Nadav Lapid’s Film “Yes” Ignites Outrage and Division in Post-Attack Israel
Israeli director Nadav Lapid’s latest film, Yes, has sparked considerable controversy, emerging as a satirical examination of contemporary Israeli society in the wake of the Hamas-led attacks on October 7, 2023. The film has provoked intense discussions, drawing ire from both nationalist groups and pro-Palestinian activists, thereby underscoring the deeply polarized nature of Israeli politics and culture.
A Bitter Reality for Lapid
Lapid articulated his struggle with conflicting identities, remarking that he sometimes feels like “the protagonist of a Jewish joke,” caught between accusations of antisemitism from some and being labeled a Jew by others. This sentiment encapsulates the challenges he faces in releasing Yes, a film that critiques the moral complexities of Israeli society following violent events.
The film has faced condemnation from Israel’s culture minister, Miki Zohar, who accused Lapid of dishonoring the Israel Defense Forces (IDF). Critics have also scrutinized him for accepting funding from the Israeli Film Fund, interpreting it as complicity in state actions.
Divided Reactions to Yes
Lapid noted that Yes has incited backlash from both right-wing and left-wing factions. He has received messages branding him “worse than Goebbels” and a “collaborator with genocide.” He commented on the confusion the film generates, suggesting that not everyone is ready to confront such uncomfortable truths.
This theme of resistance versus complicity recurs in Lapid’s oeuvre. His earlier films, including Synonyms and Ahed’s Knee, explore the intricacies of Israeli identity and the role of art in challenging state power. In Yes, he transitions from a narrative of refusal to one of submission, probing the implications of saying “yes” in a morally ambiguous landscape.
The Narrative of Yes
The film follows Y., a jazz musician played by Ariel Bronz, and his wife Yasmin, a dancer portrayed by Efrat Dor. Confronted with financial hardships and ethical dilemmas, the couple opts to align themselves with Israel’s elite. This decision is illustrated through provocative and hypersexualized scenes, including a chaotic party for IDF officials where Y. performs a shocking routine.
The film culminates in Y. being commissioned to compose a new national anthem, featuring lyrics that advocate for the destruction of Gaza. These words are not fictional; they are taken verbatim from a real song associated with the anti-Palestinian group Civic Front. The film juxtaposes these lyrics with footage of children singing, amplifying its provocative message.
The Impact of Recent Events
Lapid began developing Yes before the October 7 attacks but rewrote substantial portions in response to the ensuing violence, which resulted in approximately 1,200 deaths and around 250 kidnappings. Upon returning to Israel, he observed a creative community mobilizing to address the crisis, with many artists producing works that reflect the trauma and urgency of the situation.
The scale of Israel’s military response, reportedly resulting in over 75,000 deaths in Gaza, permeates the film. Notifications of casualties appear on Y.’s phone, which he dismissively swipes away. Seeking inspiration, he visits Golani Hill, overlooking Gaza, where he witnesses a landscape marred by destruction.
Challenges in Production
The production of Yes faced numerous challenges. Many Israeli technicians declined to participate, and actors expressed apprehension about their involvement. Securing insurance for filming near the Gaza border amid ongoing military strikes proved to be a significant obstacle. Just days before filming commenced, a missile attack struck Tel Aviv, forcing members of the French crew to take shelter in municipal bunkers.
International financiers were also hesitant to support the project, with some expressing a preference for neutrality in the ongoing conflict. Lapid recalled a notable quote by Jean-Luc Godard regarding objectivity during the Holocaust, highlighting the moral complexities of taking a stance in such a contentious environment.
When Yes premiered at Cannes, it garnered critical acclaim but struggled to secure distribution. Distributors expressed admiration for the film while simultaneously voicing concerns about its release. Some insisted on meeting discreetly, treating the collaboration as taboo.
Screening and Reception
The film’s screening at the Jerusalem Film Festival prompted calls from officials to withdraw it from the program, claiming it reopened societal wounds. Despite the controversy, Yes received seven Ophir Award nominations, including best picture and best director.
In August, New York-based distributor Kino Lorber acquired the North American rights and plans to release the film in U.S. theaters on March 27. Lapid expressed gratitude for a distributor willing to take risks, emphasizing that “cinema was born in this kind of courage.”
A Broader Reflection
Lapid believes that American audiences will connect with the film’s themes. He posited that while Yes is set in Israel, it reflects broader issues of power dynamics and moral compromise that resonate universally. The film raises critical questions about the implications of acquiescing to authority.
During filming near the Gaza border, an unexpected encounter with an Israeli officer underscored the film’s central themes. Initially, the officer engaged with the crew, delaying his superiors and permitting them to continue shooting. However, when Lapid requested one final shot, the officer ultimately decided to end the session, illustrating the tension between artistic expression and military authority.
Lapid contemplated the implications of this encounter, considering the potential future of the officer as a filmmaker and the moral complexities that could arise from such a position.
As reported by famedelivered.com.
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Published on 2026-03-20 23:11:00 • By Editorial Desk
