Satisfying and poignant, ‘The Names of Love’ rises above the constraints of its genre.
Special To The Jewish Week
The original French title of the new comedy “The Names of Love,” which opens on June 24, was “Le Nom des Gens.” That loosely translates as “the name of people” and, for a film that is very much about the nature of identity and self-definition, it is a more apt title. On the other hand, since the film is a sweet-natured romantic comedy, maybe things are best left as they are.
It often seems that we’ve become emotionally numb to talk about Nazis and Hitler. We toss around the word “Nazi” with such impunity these days that the essential meaning of who Hitler was and what the Nazis represent appears entirely lost.
Some worry that ignorance and latent anti-Semitism lurks behind our lax standards, but many suggest otherwise: it’s Holocaust fatigue, they say, a culture saturated not with too little knowledge about Nazis, but rather, too much.
Award-winning film about a Gaza boy and his Israeli doctor wins fans from all sides of the conflict.
In 2008, Shlomi Eldar, a prominent Israeli television journalist, was asked to do a segment on a baby Palestinian boy suffering from a lethal blood disease, and an Israeli doctor’s attempt to save him. But Eldar was reluctant.
For Julian Schnabel, the storm that followed the release of his new film, “Miral,” about a Palestinian woman who joins the first intifada, has not quite passed.
A week before the film debuted in late March, prominent Jewish groups criticized Schnabel, whose film was screened at the United Nations main hall. The American Jewish Committee, for instance, said that the film has “a clear political message, which portrays Israel in a highly negative light.”
What happens to a rich, neurotic Jewish family when one of their own writes a tell-all exposing their dirty secrets? The Meyerwitz family is about to find out. And the timing couldn't be more hilariously awful.