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Fill the void

· The film ·

Shira, the daughter of a rabbi of the orthodox community of Tel Aviv, wants to marry one of her contemporaries but the love story that has just begun between them is interrupted by the death in childbirth of Shira’s sister Esther. Her brother-in-law Yochai is left alone with the newborn child who is cared for by Shira and the grandmother. 

However Yochai thinks of going to Belgium and remarrying: the baby would be removed from the maternal family. Shira alone can change everything by giving up her own project and marrying her brother-in-law, as her mother suggests. Shira accepts. Sacrifice? Obedience to the Hassidic community? Weakness in the face of the mother? In her choice there is all this, but that is not all: scene after scene, from being a possible imposition her decision turns into an unheard of act of love. Love for the child, for her brother-in-law, for her mother, but also for the tradition to which she is bound and for the religion in which she believes: the audience of Fill the void (2012) which were expecting rebellion or resignation, finds itself faced with an obedience that, paradoxically, becomes a new freedom. Rama Burshtein, the director, belongs to the orthodox community of Tel Aviv. Hers is not therefore a critical gaze but total adherence to the community’s values, which makes the film truer and more moving, also involving those who feel and are very distant from that world. (@ritannaarmeni)




St. Peter’s Square

Dec. 10, 2019