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剧情简介
The issue of War widow representation in Israeli cinema is one of the most complex for the local industry for it seems to be unique and with a very local and specific iconography. The war Widow is a difficult character to digest. Because this is an especially painful topic in Israel, its mode of representation is almost always problematic. Gila Almagor in Tofano's "siege" is one of the first characters of the "modern" war widows to appear on Israeli cinema screens. The human and social complexity of the status of widows was not represented adequately and personally until her complex and fine appearance in this film. It was mostly Preceded by cliches of heroic women who have sacrificed for the nation with characters to which it was very difficult to get attached, nor to their personal grief. "Siege" was directed by an unknown Italian director of that period. Although Gilberto Tofano was brought as a professional director on the wings of inspiration made by the French New Wave of those years, he managed to turn out a very exciting work which has caught the Israeli warmth and sense of social siege which surrounds the Israeli widows, including the great expectations from them and the social stigmas. Tofano wrapped his leading lady with lots of warmth and gave a place of honor to Almagor's impressive presence in the film. This is without a doubt one of Almagor's best and most accurate performances. The restraint in her performance plus the shooting and expressive use of angles by Tofano and his soft European touch which was far off from the aggressive local product managed to produce a sense of documenting an authentic tragedy with a tangible personal touch that minimized the national dimension. The result stands the test of time proudly several decades after its creation.
观众心声
#以色列影展# 和平影都，3.5分。女主支离破碎、极度受限的生活时空中，纪实影像常常如同干扰（glitch）闪入每个指向可能触发牺牲者/战争记忆的时刻，而同时取样自真实世界的新闻画面、广播报时声也总是指向战争对这个国家的充分占据；除此之外，相对完整的故事中，亡夫好友的（甚至极具侵略性的）关怀中又再次彰显这个随时准备战争的国家的“军事状态”，而所有关系都被军队的高度权力扩张、军事组织的男性情谊纽带和其与宗教共同带来的（也许普遍存在的）对好友记忆的看护幻觉所支配。不过除了那段机场的闲暇，我并没有其他印象太深刻的东西。
以色列新浪潮，凌晨5点的机场，战场与生活的拼贴蒙太奇。
我看这种主人公命运很无可奈何的电影总是很难受，后半段一度觉得塔玛可以有好的日子过了，最后到底David出事没有没看明白。唉。
结尾一分钟很升华
Love&Peace//视听声画上挺新浪潮的 从感情生活带向社会生活 战争的阴霾从未消散何况战争尚未停止//大部分社会状态都是如此 希望女人能够忠于某一男人且道德要求极高 女人的生活似乎在她们选择结婚的那个瞬间就彻底停止了//即使算上真实感受到幸福愉悦的感情 生活也要基于那个男人的健康平安收入稳定//人们渴望和平 在一定程度上是不愿再为生死而担惊受怕//娜拉总是要出走的