It’s not every day that we come across Rav’s name in the credits list of a feature film, especially not as screenwriter and director. But Michael Verdi, the rabbi of Kibbutz Rosh Zurim in Gush Etzion, is also a certified filmmaker. He studied directing and production at Tel Aviv University, created several documentaries, and served as the head of the screenwriting department at the Ma’ale Film School. “Barrenness” is his first full-length feature film, and its misleading name is a complete world.
The one known as Akra is 24-year-old Paige (Milli Eshat from “Beyond the Mountains and Hills”) who lives with her husband Naftali (Yovat Rothman from “Shtisel”) in his parents’ house in Safed. Her parents moved to America, so Naftali’s family, which belongs to the Breslav Hasidic community in the city, is also her only close family. Apart from them, she is only in contact with the owner of the art gallery, where she works, and his wife.
After four years of marriage, everyone expects Paige to start having children already, but this is not happening, and Naftali does not intend to look for their own apartment until they become a family in the full sense of the word. Instead of going to be examined by the relevant doctors, when Rosh Hashanah arrived Naftali flew to Uman in Ukraine to pray for Rabbi Nachman’s help. His father (Nevo Kimchi) also enlists in the cause, and on the eve of the holiday he invites to his house an eccentric vagabond named Rabbi Eliyahu (Gil Frank), whom he met in the synagogue. Elijah has trumpets with which he works miracles, he claims, and he promises Paige that if she cooperates, her stomach will be filled. Rabbi Eliyahu’s intrusive presence is not pleasant for Paige, but she grew up knowing that “what the rabbis say is sacred”, and she kneels under the pressure to fulfill her destiny as a woman, which she feels from all sides. When she is left alone at home with the guest and his shofaras, he takes the opportunity to commit indecent acts on her under the guise of treatment.
“Barren” refrains from showing us what exactly happened there, but it is clear that Paige was badly hurt, and even her mother-in-law (Ilanit Ben-Yaakov) notices that something is wrong with her. From here on, the film examines the handling of the family and the rabbis in the aftermath of the event. It is not about providing mental support to the victim, but about halachic questions – should it be ruled that she was raped or not, and is it permissible for her husband. Contrary to what occasionally leaks into the media, there is no denial here, but the story remains within the community. Meanwhile, Paige is withering away.
The community leaders don’t really accept it. “barren woman”
The inspiration for “barrenness” comes from a case that occurred in Hungary in the 19th century and is described in Torah literature. The rabbi’s halachic ruling in that case was used by the rabbis in the Land of Israel when they came to discuss the fate of the women who were sexually assaulted by Rabbi Ezra Sheinberg, head of Yeshiva Orot Ari in Safed, who was convicted in 2017 and sent to seven and a half years in prison. given in Europe more than a century ago are still valid.
Unfortunately, when it comes to sexual exploitation of women, most of the questions are still valid even among the secular society. Part of the power of “Barrenness” comes from the inside view, which gives the film a rare sense of authenticity. This also means that any accusation directed at the community and its leaders is only implicit, and except for Ans all the other characters, including the rabbis, inspire sympathy, even when they are wrong. This does not diminish the intensity of the suffocating anguish that emerges from the film, not least due to Eshat’s excellent performance. Being a woman of faith, lonely Paige asks God why this happened to her, and receives no answer. Only the scenes dedicated to two converts (Henry David and Yana Yosef), who come to Paige’s mother-in-law in search of a match, lighten the atmosphere a little.
Safed, as in a painting for tourists. “barren woman”
The film was shot by Uri Ackerman, who until now specialized in documentary photography. As in the paintings that Feige sells to tourists, the mise-en-scenes and lighting are meticulous and beautiful, and the photography benefits Safed. The neglect that has fallen over the years in this city of great beauty is not evident in “Aker”.
As luck would have it, two Israeli films dealing with the sexual exploitation of women are coming to the screens this week. “Everything I Can” and “Barren” choose different points of view, and describe very different communities, but both excel in a serious and restrained treatment of the subject, giving viewers complete cinematic experiences. That’s why I’m happy to recommend both, but maybe not on the same day.
4 stars. Directed by: Mordechai Vardi. With Milli Eshet, Yoav Rothman, Ilanit Ben-Yaakov, Nebo Kimchi, Golan Azoulai, Gil Frank. Israel 2022, 108 min.