"It's part spy thriller, part romance and part psychological drama about the toll revenge takes on the human soul."
-- James Verniere, BOSTON HERALD

"Israeli thriller-drama is a challenging tale with a few flaws, but it's also impressive, memorable and complex."
-- James Rocchi, NETFLIX

"It's essentially a personal drama, but the fact that it plays out within the barest framework of a genre thriller gives it a weird, appealing edge."
-- Rob Thomas, CAPITAL TIMES (MADISON, WI)

"Superbly acted, and blessed with subtle and deep characterizations."
-- Shlomo Schwartzberg, BOXOFFICE MAGAZINE

"It's a noble and humanizing work with an engaging and intimate tone and look."
-- Chris Vognar, DALLAS MORNING NEWS

"Terrific Israeli drama."
-- Roger Moore, ORLANDO SENTINEL

"At once glossily commercial and brimming with intellectual ambition."
-- Ella Taylor, L.A. WEEKLY

"Compassionate and marvelously acted."
-- David Sterritt, CHRISTIAN SCIENCE MONITOR

"An odd bird, a slight-feeling indie film that slowly builds into a substantial meditation on contemporary politics, sexual and otherwise."
-- Dana Stevens, NEW YORK TIMES

"Thought-provoking."
-- Ruthe Stein, SAN FRANCISCO CHRONICLE

"Will resonate with all sorts of viewers."
-- Jean Oppenheimer, DALLAS

"The history of this film sparkles with fresh thinking."
-- Jackie Loohauis, MILWAUKEE JOURNAL SENTINEL

"The well-made Walk on Water explores emotional fallout from the Holocaust in a contemporary Israeli setting."
-- Laura Kelly, SOUTH FLORIDA SUN-SENTINEL

"A sweeping travelogue as well as one of the finest Israeli films of recent years."
-- Harvey S. Karten, COMPUSERVE

"Fast moving and intelligent enough to hold the interest of anyone with a marginal understanding of politics and history."
-- Forrest Hartman, RENO GAZETTE-JOURNAL

"It's exhilarating just to witness a wide worldview unspool with such dedicated humanity."
-- Ian Grey, ORLANDO WEEKLY

"The past's hold on these people is examined with intelligence and insight, and the final scenes are quite touching."
-- John Hartl, SEATTLE TIMES

"Offers a fascinating treatment of the issues facing the descendents of Jewish victims and their German persecutors, as well as one of the most chilling birthday parties ever filmed."
-- Ken Fox, TV GUIDE'S MOVIE GUIDE

"If there are no simple solutions offered to calm Israel's troubles, there is still hope in this fine portrait of a country torn too many ways."
-- Tom Long, DETROIT NEWS

"Affecting performances by the cast place those abstract issues firmly in the human world."
-- Kerry Lengel, ARIZONA REPUBLIC

"Walk On Water deals with weighty subject matter without making it a heavy movie."
-- Cherryl Dawson and Leigh Ann Palone, THEMOVIECHICKS.COM

"The director skillfully maintains steady pacing, incorporates scenes of Israel's geography and landmarks, and explores human interaction at its most awkward, tense, and beautiful."
-- Stina Chyn, FILM THREAT

"Even when Walk on Water doesn't quite have you by the heart, its little fingers fumble around in your brain."
-- Ellen Fox, CHICAGO TRIBUNE

"Lior Ashkenazi, who stars in it as an emotionally buttoned-down Mossad agent, has the debonair subtlety and charisma of an Israeli Clive Owen."
-- Owen Gleiberman, ENTERTAINMENT WEEKLY

"An ambitious film, wrapped inside the package of a thriller, that delivers on most - if not all - of its lofty aspirations."
-- Jeffrey Bruner, DES MOINES REGISTER

"Ambitious, troubled, worthy inquisition into the soul of modern Israel."
-- Ty Burr, BOSTON GLOBE

"A film that brilliantly works the intersection of the personal and the political."
-- Erica Abeel, FILM JOURNAL INTERNATIONAL

This is an eye-opening journey that just might open your mind."
-- E! ONLINE



Plot:

A hit man, Eyal, is given the mission to track down the very old Alfred Himmelman, an ex Nazi officer, who might still be alive. Pretending to be a tourist guide he befriends his grandson Axel, in Israel to visit his sister. He wants to convince her to come back to Germany for their father's birthday party. The two men set out on an extended tour of the country during which, Axel's frankness challenges Eyal's rigid, clichéd values. Their friendship grows until he learns of Axel's homosexuality. With this final straw he leaves. To finish his mission Eyal has to go to Germany. He meets Axel once more and succeeds in being invited to the family party where secrets will be revealed. Also titled "Lalecet Al Hamaim."

Genres: Art/Foreign, Drama and Thriller

Running Time: 1 hr. 44 min.

MPAA Rating: R, for some language including sexual references, and for brief nudity

Distributor: Roadside Attractions

Starring: Lior Ashkenazi, Knut Berger, Caroline Peters, Katya Berger, Gideon Shemer

Directed by: Eytan Fox

Produced by: Gal Uchovsky, Gal Uchovsky, Amir Harel





WALK ON WATER (2005)

Eytan Fox follows up his excellent little gem "Yossi & Jagger" with another winner that is even better than his last. I honestly am not sure why I loved "Walk on Water" as much as I did because, in a way, there isn't much to it, at least not on the surface. It's a really subtle film, both simple and complex at the same time. But there was just something there that made it very engrossing. I came to really care about the characters and found the friendship that develops between Eyal (Lior Ashkenazi) and Axel (Knut Berger) really nice and touching.

The acting was absolutely terrific and some of the best of the year. Knut Berger (The Edukators, Sugar Orange) was very appealing and immensely likable as Axel. Him and Lior Ashkenazi, who reminds me of Clive Owen, complimented each other nicely. While not in the film quite as much, Carolina Peters was also solid as Pia.

"Walk on Water" seems like it's going to be a thriller, but really ends up being more of a character study, and it might just be better off for it. Political dramas are not usually my thing, but "Walk on Water" ended up fascinating me rather than boring me. I didn't really want it to end, especially as the last 25 minutes or so are the best. There were a few great scenes during this time. I loved when Eyal beat up the gay bashers. It made him that much more likable. And I also loved the last three scenes.

It would be great to see this get an Oscar nomination for "Best Foreign Film" but it's doubtful it will, even with the good reviews, since it was released earlier in the year. Movies that are, especially smaller ones, are usually forgotten by then, which is really unfortunate. This is a gem that deserves to be seen. After two excellent films I'm looking forward to seeing what Eytan Fox does next. I'm also interested in seeing Knut Berger in future films.

While it won't be for everyone, I still highly recommend "Walk on Water."

Grade: 8/10 (A-)

Hey Mike! The only movie this year that in retrospect, might have gone up in my estimations! And that's saying something considering I already gave it an "A-"

Here's my review: http://www.worldofkj.com/reviews/Galia/Walkonwater.php

You might find this thread interesting: http://worldofkj.com/forum/viewtopic.ph ... ight=water

Thanks for the links. I definitely plan on buying it so I will be seeing it again eventually. I'm sure my rating won't go down at least.

*bump* for later.

Wow. Great movie. In your review, dolce, you mentioned it tackles the issue of Israeli national identity and whatnot post Holocaust... I think this film rivals Munich in discussing the Israelis and the Nazis and their identity as a people. Very interesting commentary on both their plight and the world's view. I liked the Palestinian (Rhirk? err, something like that) that was thrown into the mix.

The film is much better when being just... itself. By telling the story of Eyal and the tolls his job has on him and his relationship with others, Fox really does a great job fleshing out ALL the characters. Their interactions - especially with Axel - are very memorable.

I've got lots of thoughts on the film, but my mom is nagging me to take a walk with her. (No, not on water..). Leave a comment (anyone) is you'd like... I wouldn't mind talking about it more.

Same goes for roo and makeshift....

Grade - A/A-

I knew you'd like it.

I thought Axel and Eyal served as the foils for eachother, to the point where at the end (you know when) they basically assume eachother's skins altogether, and Eyal can't bring himself to finish the job because of his newly fouhnd idealism, while Axel has been exposed to so much in the past few weeks that he actually assumes responsibility for the death.

Can't wait to hear more from you guys.

*awaits makeshift's comments too*

Nice avatar

Axel was one of the most interesting characters I've seen in a movie in quite some time. His idealism - when he questions Eyal's views on Palestinians, and driving the down the country road, for example - is something I can sort of relate to. I see some of myself in him, and then more. He was the highlight.

Eyal is interesting too. Even though (after Munich) his change of heart isn't quite as shocking as it probably would have been if I saw it a year ago, it's quite poignant.

All that aside, the movie just fit me. The scenery was fantastic, as was the choice of music. Everything worked nearly perfectly for me.

... and, if I may ask, when did you (or anyone that has seen the movie) realize Axel was gay? I didn't know that going into the movie, but picked up on it. Still, I'm wondering if it was when they were cleaning after bathing in the Dead Sea, or before. Just how subtle was his performance? I tend to pick up on things like that earlier, perhaps making me less appreciative.

Thanks for the recommendation. Just my type of a story.

I knew it would be.

I think as well it works best not as a call against national politics but as someone who just breaks down and realizes he can no longer be part of the cycle.

I knew about Axel before I even entered the movie. It was covered quite a bit in the write-ups for it, so I guess the less you knew going into it, the better.

I'll speak briefly to Axel's idealism, because that converstion was interesting to me. It didn't under or overstae either's position, but let you read what they said by knowing their characters. The one that comes from the outside, and has that idealism, and when he says that you just say to yourself "Oh, the idealist." Then Eyal counters in a blunt fashion its equally right, but also the perspective of someone who has been through it. So they're both right, but its in both cases an extension of their personal experiences and relationship to the bombings. Of course, they agree to disagree, and there is no resolution, which I believe pretty much sums up how everyone feels. No resolution.

For me, I liked that it was one of the only times on film where the "new" generation showed signs of moving away from dealing with the few remaining Nazis as well.

And the discourse around homosexuality isn't angry, it just comes off more as lack of exposure, like Eyal has never even thought about it before, not that he's predisposed against it. It had some heavy realist (for good or bad...this sometimes affected pace and tone of the film) elements in that sense.

Actually, if I may comment on the Eyal and the homosexuality;

I might sound crazy for bringing this up, but I think Eyal was bisexual and developed somewhat of a connection to Axel. I'll only get into my "theory", which I think has quite a bit of gossip and circumstantial evidence....

It isn't important, though. Something I considered watching it, but probably nothing.

The break down is definitely pivotal to the film, as it was in Munich. This one isn't nearly as political; we're spared an homage to 911 and the rest, and the focus is only once on Eyal having a duty to Israel. Otherwise, this one is definitely about the evolution of Axel and Eyal more than anything else. I thought it was an interesting twist on the traditional plot, where we see two polar opposites trade places, because of just how brilliantly both characters were captured. Axel seemed much more playful and very curious at the beginning, as well as idealistic, and then at the end so rigid and firm. Eyal, on the other hand, seems so hard, decisive, and afraid of deviating from his normal routine - even if it means bottling up his emotions. At the end, he obviously lets it go. Interesting reversal from that perspective, too.


I could ramble for a while, as its hard to really get a few, concise thoughts out on paper for me. I'm actually going to pop the movie back in and look over some other scenes.

I thought it was painfully mediocre.

You know, its interesting to look back on what you said in the other Walk on Water thread in foreign/indie over half a year ago. That you thought it could have actually used more melodrama. Then along comes Munich. :-) You called it.

I think they're very different, and the production budget and Spielberg's hand definately show, but Walk on Water to me had a good "quiet" tone to it. Like a "road trip" film (say, Transamerica for example), and in part it was a trip. Alot quieter and with a bit more upbeat of an ending, slower pace. I really liked it, but I can't believe you pretty much visualized Munich before it hit theatres when you were talking about Water's tone, heh.

No, I didn't know anything about Munich except the basics then.