Nadav Lapid’s Controversial Film “Yes” Sparks Outrage and Resistance Amidst Israel’s Turmoil
Israeli director Nadav Lapid has faced significant backlash over his latest film, Yes, a satirical exploration of contemporary Israeli society following the Hamas-led attacks on October 7, 2023. The film has ignited fierce debates, drawing criticism from both nationalist factions and pro-Palestinian activists, highlighting the polarized landscape of Israeli politics and culture.
A Bitter Reality for Lapid
Lapid expressed his feelings of being caught between conflicting identities, stating, “Sometimes I felt like the protagonist of a Jewish joke. The Jews call you an antisemite. And the antisemites call you a Jew.” This sentiment reflects the challenges he has encountered while trying to release Yes, which critiques the moral complexities of Israeli society in the aftermath of violence.
The film has been condemned by Israel’s culture minister, Miki Zohar, who accused Lapid of dishonoring the Israel Defense Forces (IDF). Critics have also targeted him for accepting funding from the Israeli Film Fund, viewing it as complicity in the state’s actions.
Divided Reactions to Yes
Lapid noted that the film has incited anger from both right-wing and left-wing communities. He received messages accusing him of being “worse than Goebbels” and a “collaborator with genocide.” He remarked on the confusion the film creates, suggesting that not everyone is prepared to confront such uncomfortable truths.
This tension between resistance and complicity has been a recurring theme in Lapid’s work. His previous films, including Synonyms and Ahed’s Knee, delve into the complexities of Israeli identity and the role of art in challenging state power. In Yes, he shifts from a narrative of refusal to one of submission, exploring what it means to say “yes” in a morally ambiguous world.
The Narrative of Yes
The film centers on Y., a jazz musician portrayed by Ariel Bronz, and his wife Yasmin, a dancer played by Efrat Dor. Faced with financial struggles and ethical dilemmas, the couple chooses to align themselves with Israel’s elite. This decision is depicted through a series of provocative and hypersexualized scenes, including a chaotic party for IDF officials where Y. performs a shocking routine.
The film culminates in Y. being commissioned to write a new national anthem, which includes lyrics advocating for the destruction of Gaza. These words are not fictional; they are taken verbatim from a real song associated with the anti-Palestinian group Civic Front. The film juxtaposes these lyrics with footage of children singing, amplifying its provocative message.
The Impact of Recent Events
Lapid began developing Yes prior to the October 7 attacks but rewrote significant portions in response to the violence that ensued, which resulted in the deaths of approximately 1,200 people and the kidnapping of around 250. Upon returning to Israel, he found a creative community mobilizing to address the crisis, with many artists producing works that reflected the trauma and urgency of the situation.
The scale of Israel’s military response, which has reportedly resulted in over 75,000 deaths in Gaza, permeates the film. Notifications of casualties appear on Y.’s phone, which he dismissively swipes away. Seeking inspiration, he visits Golani Hill, overlooking Gaza, where he witnesses a landscape marred by destruction.
Challenges in Production
The production of Yes was fraught with difficulties. Many Israeli technicians declined to participate, and actors expressed fear about their involvement. Securing insurance for filming near the Gaza border amid ongoing military strikes proved to be a significant hurdle. Just days before filming, a missile attack struck Tel Aviv, forcing members of the French crew to take shelter in municipal bunkers.
International financiers also hesitated to support the project, with some stating their preference for neutrality in the ongoing conflict. Lapid recalled a famous quote by Jean-Luc Godard regarding objectivity during the Holocaust, emphasizing the moral complexities of taking a stance in such a contentious environment.
When Yes premiered at Cannes, it received critical acclaim but struggled to find distribution. Distributors expressed admiration for the film while simultaneously citing fears about its release. Some insisted on meeting discreetly, treating the collaboration as taboo.
Screening and Reception
The film’s screening at the Jerusalem Film Festival led to calls from officials to withdraw it from the program, claiming it reopened societal wounds. Despite the controversy, Yes garnered seven Ophir Award nominations, including best picture and best director.
In August, New York-based distributor Kino Lorber acquired the North American rights and plans to release the film in U.S. theaters on March 27. Lapid expressed appreciation for a distributor willing to take risks, stating, “Cinema was born in this kind of courage.”
A Broader Reflection
Lapid believes that American audiences will resonate with the film’s themes. He posited that while Yes is set in Israel, it reflects broader issues of power dynamics and moral compromise that are universally relevant. The film poses critical questions about the implications of acquiescing to authority.
During filming near the Gaza border, an unexpected encounter with an Israeli officer highlighted the film’s central themes. Initially, the officer engaged with the crew, delaying his superiors and allowing them to continue shooting. However, when Lapid requested one final shot, the officer ultimately decided to end the session, reflecting the tension between artistic expression and military authority.
Lapid pondered the implications of this encounter, considering the potential future of the officer as a filmmaker and the moral complexities that could arise from such a position.
As reported by www.hollywoodreporter.com.
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Published on 2026-03-20 23:11:00 • By FAME Delivered News Desk