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Turn Left at the End of the World
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The drama with the highest Israeli box office gross of the past 20 years follows two young women in the Negev desert who make exciting new plans when they discover the sexual revolution is raging in the outside world.
Avi Nesher's Turn Left at the End of the World has humor and charm. The amusing script and genuine sympathy for the characters keeps chuckles flowing. Pic successfully balances the coming of age tale with more far reaching satire on cultural pretensions. --Variety
A great cinematic experience. Very witty and sensual. Highly recommended. --Le Figaro
Great acting and ground breaking filmmaking --Studio Magazine
Top customer reviews
When te large Jewish Talkar family arrives from Mumbai (then Bombay), their literate, worldly teenage daughter Sarah (Liraz Charchi) immediately begins keeping her journal, despite warnings from her new Moroccan Jewish acquaintance, Nicole (Netta Garti), that the Negeve community offers nothing to write about.
Meanwhile, Sarah's father Roger (Parmeet Sethi) comes to work in the town's only employment source---a soda bottling factory---dressed in the white business suit he was expected to wear in Bombay offices. All the while the French-speaking Moroccans, themselves also hailing from an upper crust of their native society, ridicule the Indians for their form of dress, their many children and their attitudes. Nicole's mother Jeannette (Ruby Porat Shoval) voices especially harsh criticism of the Indians, discouraging her daughter from visiting them.
No one in this desert environment expects Indian and Moroccan Jews to get along. But Sarah and Nicole defy these predictions and form a close friendship, at the instigation of Moroccan widow Simone (Aure Atika), who sets Nicole on the newcomers like a spy. The girls' friendship is real enough, although unbeknownst to her, Sarah's father Roger cozies up Simone and establishes a hot affair.
During all the personal intrigue, the film also explores the bottling workers' relations between one another and their absentee bosses, who refuse to give them a raise despite rampant inflation. The workers agree to go on strike, but rather than capitulate, the company shutters the factory all together, leaving everyone in the community---Moroccan snobs and Indian newcomers alike---bereft and impoverished.
The story is full of ironic developments and strange outcomes, including the attraction of news reporters to the workers' plight by---of all things---the Indians' organization of a local cricket team.
This is a delightful film, and will educate viewers about the surprising racial and ethnic diversity of Jewish people even in the Jewish state.
---Alyssa A. Lappen
It tells a good story of discrimination between two groups, the Moroccan Jews and the Indian Jews in a tiny town in the desert. It is also about the friendship between two teen-aged girls, Sarah (Indian) and Nicole (Moroccan) in that town. The girls become fast friends despite their differences in personality and their different ethnic backgrounds.
We get the story of a labor dispute at the only employer for both the Moroccans and Indians, and how each group deals with it - the differences separating the two communities, despite their common circumstances, how they try to work together, and again are torn apart.
There is marital infidelity and sexual awakening among both the girls and the boys, how they cope with it, and the emptiness of some of their solutions.
It ends up being both funny and redemptive.
This movie tells of an Indian family emigrating to Israel in 1968 and shunted off to a god-forsaken town in the desert (Mitzpe Ramon) where the other inhabitants are mainly from Morocco. The Moroccans speak French and Hebrew with an absurd, jokey accent and the Indians speak the Queen's English.
Two girls of similar age, one from a Moroccan family and the other from the Indian family, forge a bond that will be tested and strengthened through coming to terms with and accepting their cultural differences.
The premise is promising but the execution is simplistic. Nesher always goes for the easy options. Given a choice between deep and shallow, he's always chooses shallow.
There are some funny scenes and the narrative never drags -- but the final feeling is one of sexploitation.