We have endless discussions at Cinetalk.net about spoilers. How to ‘analyze’ some films or tell our readers ‘what it is about’ without giving away plot devices. As film buffs we hate spoilers…
So let’s just say, for the purpose, that Samuel Maoz’s Foxtrot is a cynical drama (with quite welcome humorous parts) about the fear of loosing sons to the permanent neighboring war faced by the state of Israel.
After the success of his previous feature, Venice Golden Lion winner Lebanon (2009), Maoz met once more with raving reviews. Foxtrot earned the Jury Prize at Venice 2017 and made it to the Oscars short list of foreign Language Films, although it didn’t make it into the round of five. Its most notable ‘star’ , for international consideration, is actor Lior Ashkenazie. We saw him in worldwide distributed Israeli films like Late Marriage and Footnote. He was good in those, he is still very good in this one.
Foxtrot is divided in three segments basically exposing different view points and consequences about a sole incident. The title refers to the dance of the same name. It is described, by one of the characters, as made of movements leading the performer back to his starting point. Thus arguments, reactions, options, the infinity of possibilities lead to a dead end where history repeats itself.
Cleverly playing with time and space, in expressing variants of revised options for the viewer, Foxtrot get us back and back again to the same spot, a checkpoint, an outpost to nowhere where the only escape is fatality.