Thursday, October 3, 2019

“Synonyms” A Good Jew in Paris

By José Alberto Hermosillo
“Synonyms” is an urgent cry for freedom. Sublime and poetic. Unmissable and obsessively beautiful. Pure Bertolucci!
Recently, antisemitism and extreme right-wing Nationalism are increasing their activities in Europe. Many French-Jews are fleeing back to Israel. 

Ironically, young Joav, magnificently played by newcomer Tom Mercier. Upon his arrival in Paris, he felt the urgency to become a French citizen. Joav is an Israeli army deserter suffering PTSD. His memories of abuse and brutality experienced in his nation blend in with an explicit dehumanization of his persona.
"Synonyms" ©Berlin Film Festival
When Joav arrives to the city, he falls asleep in the bathtub of an empty apartment located in a fancy neighborhood of Paris. When he wakes up, all his belongings are gone. Back to the tub, and to a near-death experience of hypothermia, a Good Samaritan young couple come to rescue.
"Synonyms" ©Berlin Film Festival
Emilie (Quentin Dolmaire “Godard Mon Amour”) and Caroline (Louise Chevillotte) are a wealthy pair who want to fulfill their intellectual needs by playing dangerous games recklessly. They feed Joav, dress him, give him cash. At one-point, Emilie wants Caroline to marry Joav to become a French citizen sooner. What a lucky boy! Their generosity comes with a price tag because, in life, nothing is for free.
"Synonyms" ©Berlin Film Festival
“Synonyms” is an existentialist masterwork with a series of complicated events that inspires its audience to dig more into the true meaning of friendship, origen, nationality, and self-respect.

While working at the Israeli Embassy, Joav creates chaos by trying to help people in need of shelter. The symbolism and political-correctness of the film reach its climax through an extreme event that pushes boundaries and international borders, metaphorically speaking - comparing Joav's liberal actions versus the politics of Israel towards Palestinians.  

Joav’s only weapon is a French/Hebrew dictionary, where he can find a plethora of words to recite because that is the only way to survive in the very classist French society. So, he better start to speak Victor Hugo's language to perfection.
Nadav Lapid winning the Golden Bear for "Synonyms" ©Berlin Film Festival
Graduated in philosophy from Tel Aviv University, visionary Director Nadav Lapid (“Kindergarten Teacher,” “Policemen”), went to live in Paris at the end of his military training in Israel. He had a mission to save his soul and became a French-citizen, something reflected in his compelling body-of-work, mostly in his latest work, “Synonyms,” a masterpiece!
"Synonyms" ©Berlin Film Festival
Writing this year’s Berlin Golden Bear winner, Lapid centralizes the story on a single character's journey and his wealthy friends. The director's semi-autobiographical work shows many layers of the story through Joav’s conflicting personality. Not only the inner force and self-determination of maintaining his goal till the end, but it contradicts in purpose the preservation of Israel Zionism as well - because his background plays a big part in his life. As a paradox in the story, Joav is a soldier who deserted his country, then emigrated to France to be alienated by the Parisians as well.

Joav’s father goes to Paris to bring him back. But not even a message from his mother can change his mind. He maintains himself reluctant. In the Land of Israel, the confrontational attitude of generations is evident - the older adults speak Hadith, the younger Hebrew. Now in France, the new immigrant sings the Marseillaise better than any French-born citizen.


“Synonyms” appeals to the human spirit by showing the vulnerability of the main character in a very dehumanized society.
"Synonyms" ©Berlin Film Festival
“Synonyms” is a social and political manifesto. It shows an idealistic young man’s struggle adapting to a new country, managing the conceptualization of freedom, opportunity, equality, indulgence, range, unrestrained, and rope. Under other conditions, he could implement loyalty, gratitude, and righteousness upon his persona.

When rich people abuse the poor, the thin line of trust brakes. It is when the player doesn't want to play anymore. In the new land of opportunities in front, no man can continue pushing his luck with detrimental actions.

In “Synonyms,” one question arises - how far a player can go playing the dangerous "game of life" without any rules, mostly when their actions affect the lives of others viciously?

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