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Set in Tel Aviv, focuses on an interconnected group of friends and their various relationships. At the center is the adorably bookish Omer, about to turn 30, who still hasn't found himself, and his free-spirited best friend Miki, who both end up inadvertently dating the same handsome journalist, Ronen.

Tomer Ilan as  Omer
Ofer Regirer as  Boaz
Guy Zo-Aretz as  Ronen
Yiftach Mizrahi as  Danny
Oshri Sahar as  Eitan
Yuval Raz as  Miki
Liat Ekta as  Michal

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Reviews

harryjohnson2008
2008/06/06

Oy Vay, where to begin with this one...... first of all, the movie starts out somewhat interesting. It focuses on a guy who has a seemingly endless stream of one night stands, and it seems like the movie is going to be about him. Then there is a shift to "three years later" and the entire focus of the movie shifts to another character (Omer). I had to stop the movie and back up to see if I missed something. I didn't. This was just very poor focus by the director. The rest of the movie focuses on a group of characters and Omer seems to be the main focus, but the lines are actually pretty blurred. As others pointed out in their reviews, there were scenes that were WAY too long and needed to be cut (I got very bored) and other scenes that were way too short and should have been expanded on and focused on more. And the whole thing with the alien abduction focus.....WTF? I don't see how that had anything to do with the story. The funniest part of all of this is the movie's tag line that says "One of the steamiest movies of the year". The first 20 minutes was fairly steamy, before the focus shifted to "three years later". After that, it was damp at best (but not steamy). I can't recommend this one, unless you are SO bored that you have to watch something. And then when you end up totally disappointed, just remember, I warned you.

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johannes2000-1
2008/06/07

In spite of the more negative reports here, I was rather pleased with this movie. To begin with: it has a sympathetic and genuine feel about it and the script is (for the most part) intelligent and amusing, with all these meandering story-lines that intertwine and in the end more or less come together. From one of the reviewers I learned that such is called an ensemble-movie. He apparently thought it a bit of a cinematographic cliché and in this movie not very well executed. But for me it totally worked. All characters get proper screen-time, so you can gradually learn something of their backgrounds and personalities, not too much (with so many different story-lines that's hard to do) but enough to make you care for all of them. The differences between the characters are prominent enough to keep you interested, but they never are exaggerated for the sake of cheap comedy or drama, they're mostly all simple, natural and realistic. Well, with the exception of the mother- figure; I agree with most reviewers that it was totally unnecessary (and even a let-down) to use a transvestite for that. Come-on, I can't believe that a Jewish director cannot find in Israel any Jewish actress that could play the part of the quintessential Yiddishe mama! It could be interesting to hear the view of the movie-maker on this.The acting is over-all pretty good: apart from the strange mother- impersonator everyone else acts very natural. Some of them stand out a bit more, like the promiscuous dance-teacher (very attractive to boot!), or the girl that plays Shirley (the sister of Omer), or the guy that plays Mickey as a bit of a queeny gay and who is actually very funny. Tomer Ilan is very convincing as cute Omer, exasperated by his overwhelming mother and frustrated by his marginal love-life. I also liked the musical score very much. It's linked with a few live performances in the bar where all the characters sooner or later meet. In a very subtle, almost coincidental way the director blends specific lines of the (English) lyrics with specific goings-on in the movie. You should almost watch the movie again and try to notice them. Very good!! Sure, there are some flaws to point out. The 3-year time-leap in the very beginning didn't seem to have any function. Instead it was a bit confusing, because right before the time-leap you think that Danny moves in with the promiscuous dancer, while right after the time-leap he appears to have lived together with a totally different person. The change in the appearance of Danny didn't help either: it took me some time to realize that this troubled-looking youth with the short hair-cut actually was the same person as the endearing inexperienced boy with the longer hair from the beginning of the movie. Over-all the abundance of characters was at times a bit confusing, since some of them look a bit alike and also have names that in Hebrew sound alike (like Ronen or Omer). Some of the many story-lines didn't seem necessary for the movie at all, like the woman with the alien-obsession. The final scene (again the alien-thing, now in an almost "Close Encounters"-like setting) was cinematographically beautiful, but felt a bit like a loose pebble (or maybe I missed the metaphor in this). The coupling of nerdy Omer with the obviously far more world-wise journalist was a bit far-fetched. And is Israel today really such a paradise for gay people? Where lovers can walk hand in hand in public and kiss on the sidewalks? Where all the mothers are just concerned that their gay sons and daughters find the right boy- and girlfriends, are competing with each other in gay matchmaking and all of them want their gay children to marry (!?) and have children (!?!). I thought that Holland was gay-liberated, but this beats all: I want to move there!!After viewing the movie I kept wondering what the message of the maker could be. Most characters end up with some kind of love(r) and in view of the title it seems to suggest that everyone can reach at his or her goal, however surreal or far-fetched this at times may seem. But on the other hand there are also characters who in the end stay empty-handed, like Mickey, or seem to go for a surrogate-love, like Danny. So no happy ending for all, and after the movie you're left with a smile mingled with a touch of sadness. Well, maybe there isn't a real message. It's just life.

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sandover
2008/06/08

The film begins with a serial depiction of pick-ups by one of the film's characters, that appears promising - then, oh no, the character cries in the shower: the emptiness of his life, we gather, and also that the film is fishy.One bold leap three years ahead.Dear director, do not attempt such things if you have not foregrounded a story, however elliptic.Actually there is no story, just amateurish shots of characters that confuse our endeavors to figure what happens, why this one appears, if it is central or peripheral to what is going on, then a female character appears played by a male actor, and the film by that point becomes "inferential" at best: we "infer" that this "transvestitism" is an Almodovar-like take; that the film shows the givings and misgivings of destiny in a group of people that meet, or fail to do so, in the end; we "infer" that the "alien thing" is comic, and stands for tenderness in the very end.But the transvestitism is actually a travesty: a travesty for comedy, for relief, for enacting any sense of locality; the "alien thing" not only fails to engage in locality as well, but actually forecloses any sense of geographical specificity, and becomes a psychotic symptom for avoiding to do so (another film from Israel, that met with critical success, "The Bubble" engaged in the specificity of time and place, though it presented a nihilistic political point of view that, combined with its cinematic tendentiousness, turned it into hypocrisy). It is a sad, expansive phenomenon that such uninformed sense of engagement masquerades as a kind of hurt sensibility, and a plea for sentimental and spiritual gathering of souls, a plea for love beyond our shortcomings, be them racial, sexual, ethnic ones. The film reads like a juvenile attempt at themes it fails to attack: what it means to be lonely and insecure and crave for it or be well-poised etc. but all this is to "infer"; let alone the preposterous thing going on between the journalist and the salesman: a journalist that has a humane streak falling for a gossipy, cliché-carved little nelly? There is no plausibility concerning the hovering, changing sentiments and this is so severe that comes off depressively and in the end, with the actually mad closure, pathologically I dare say. Or,the three years leap is slumped on us for signaling the older dancer's reawakening of feelings for the young dancer? For the story we did not see in the beginning? That, OK, could be evolved in a later part of the film for bigger dramatic effect, but for what? So that we learn they passed three weeks together? This is the kind of thing the late Quentin Crisp serenely and acerbically mocked as three weeks of "meaningful relationship". This must also be the writer/director's sense of meaningful film-making.

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hitmouse
2008/06/09

(minor spoilers) The director needs to work out what story he wants to tell and concentrate on that, neither hammering too hard on that story nor rushing off into side-stories all the time.Some of the relationships (the journalist and the clothing-shop boy) were just unbelievable, and actions by certain characters were rather random in the story (such as when the young dancer attempts to visit his old boyfriend the choreographer with flowers).A number of sequences just went on far too long (the opening, the café singers, and the alien-abduction conversations). I just got bored and I could feel the same restlessness across the audience at the screening I attended.The acting was fine, but the film was let down by the unfocused direction and slack editing.

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