Unfiltered Rage: Nadav Lapid’s “Yes”
Nadav Lapid’s latest feature, “Yes,” arrives with a fervor that many filmmakers shy away from. Since the unfolding events of October 7, 2023 , this Israeli filmmaker has been vocal in his criticism of government policy , with previous works like “Synonyms” and “Ahed’s Knee” exposing the fury towards Israel’s military culture and the artistic censorship it engenders. However, with “Yes,” Lapid takes it a step further, packing an impactful punch against the state in a way that’s both exhilarating and promotional—a scathing satire laden with absurdist comedy and poignant polemic.
A Provocative Premiere
The film’s premiere at Directors’ Fortnight —rather than the official Cannes selection—has raised eyebrows, hinting at a reluctance in mainstream programming to engage with its provocative themes. “Yes” is poised to challenge viewers deeply, likely creating division among those who may share its politics yet balk at its outrageous tone and style. This film does not aim for mainstream acceptance, and that very defiance is what makes it resonate strongly in the current climate. It serves as an unfiltered response to the atrocities occurring in Israel and Palestine, a visceral reaction presented in an undeniably aesthetic yet jarring package.
The Absurdist Protagonist
“Y,” played by the dynamic Ariel Bronz , is the embodiment of ambivalence in this chaotic landscape. He is introduced during a frantic dance number that merges chaos with absurdity, finding himself in a series of ludicrous situations—including engaging with partygoers through a highly suggestive performance involving a baguette and a punch bowl. This opening scene not only sets the tone for the film but also encapsulates the contradictions at play in Y’s life, as he performs for Tel Aviv elites while grappling with his moral compass.
Art in Difficult Times
Amidst the frantic high-energy performances, Y and his wife, Yasmine (portrayed by Efrat Dor ), navigate a precarious lifestyle, doubling as a hip-hop dance instructor and musician. Their reality is bleak, forcing artists like Y to say “ yes ” to opportunities that are questionable at best. The film resonates with anyone who understands the struggles of artists in today’s economic climate—this back-and-forth of compromising one’s integrity for survival serves as an undercurrent throughout “Yes.”
Confronting Brutality Through Satire
The term “yes” further implies an implicit refusal to say “no.” A pivotal moment occurs when an oligarch commissions Y to write a hymn honoring the Israeli military’s actions in Gaza. The lyrics are shockingly graphic and boastful, reflecting not just a satire of nationalism but a grim reality that permeates the film—a gory bragging over acts of violence that echoes in real-world news. As unsettling as they are, the original verses derive from a real activist group , further underscoring the film’s ambiguous relationship with satire and authenticity.
Escaping into the Desert
Transitioning away from flamboyant performances, the film takes a darker turn in its second segment, “The Path.” Y, after a questionable attempt to fit in with his surroundings, wanders into the desert, seeking inspiration. This journey isn’t just physical but is laden with psychological weight—his conversations with a former flame serve as a lens into the complexities and justifications of viewpoints in the conflict. The widening gulf of morality lays bare the inherent struggle within Y, as he is torn between passivity and active engagement.
The Climactic Resolution
In the third act, aptly named “The Night,” Y grapples with internal conflicts that underscore a central thesis: to remain silent while atrocities unfold is an unbearable stance. Lapid’s bold message implores viewers to confront the realities of their surroundings rather than basking in apolitical comfort. Many may view the film as repetitive or strident, but its intention is direct, aiming not merely to provoke but to encourage radical engagement and vociferous protest against injustice.
A Cinematic Call to Action
“ Yes ” stands as an *urgent artistic message* from Nadav Lapid—an invitation for audiences to reflect on their positions amid crisis. While facing criticism for its unyielding stance, the film insists on the importance of vocalizing dissent and taking a stand. With its exhilarating chaos and unabashed criticisms, “Yes” isn’t merely a film; it’s a rallying cry that resonates far beyond the screen, urging viewers to confront uncomfortable truths for the sake of justice.
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