Article by Laure Abramovici

The Nadav Lapid effect, or the media rise of a deconstructed sabra

Yes by Nadav Lapid electrified Cannes and French critics. Hailed as both a political pamphlet and a cathartic confession, the film nevertheless raises a question: what exactly are we applauding in this work that is considered radical? Behind the cinematic object, it is the discourse of the media-savvy Israeli director—sometimes embracing the role of deconstructed sabra, sometimes that of prophet of doom or visionary poet—that fascinates French critics.

With the support of:

Thanks to the Paris office of the Heinrich Böll Foundation for their cooperation in the design of the magazine’s website.