★★★½
“Never trust the Jews.”
The above is said by an Arab character, passing on advice from her father. By the end of it, despite this being an Israeli-produced movie, you may be inclined to agree with them. Mind you, on the basis of this, you should also never trust, the Arabs, Americans or Germans either. This dive into the world of intelligence, counter-intelligence and realpolitik is so morally murky, it should come with a head-lamp, to assist viewers peering into the darkness. Naomi (Riskin) is a Mossad agent, who has been out of the game for two years, since her husband, a fellow spy, was killed in a terrorist attack. She has now been tasked with what should be a simple job, guarding Hezbollah informant Mona (Farahani).
The latter has just been spirited out of the Middle East, after her cover was blown. Mona had plastic surgery and is recuperating in Hamburg for two weeks, before beginning a new life in Canada. Except, nothing in the world of spydom is ever “simple.” Hezbollah are very keen not to let Mona’s treachery escape unpunished, and Naomi’s nerves are on a knife-edge of perpetual tension, with even a simple wrong number telephone call triggering paranoia. Yet she has every reason to be suspicious. For far above the two women’s heads, wheels are in motion. America want to defeat ISIS, and needs Iran’s help. Iran supports Hezbollah. So if the price of Iran’s co-operation is merely an informant who is no longer of use…
“We take care of our people,” is an oft-repeated mantra, particularly by Naomi’s handler, Gad (Ashkenazi). But by the end, you’ll be feeling it’s more a sick joke than genuine commitment. While he may mean well, his hands are largely tied in terms of actual care. The reality is closer to Spock’s line in Star Trek II: The Wrath of Khan: “The needs of the many outweigh the needs of the few”. Naomi is aware of this, though matters aren’t helped by Mona’s fatalistic approach: “This apartment is cursed,” she mutters at one point. They do inevitably bond, mostly over children: Mona had to leave her son behind, Naomi is trying to conceive via a sperm donor. Though there’s also a makeover session, which is a bit cringey, to be honest – albeit, a makeover session which eventually proves necessary to the plot.
However, when this is simply focusing on screwing up the tension, Riklis does a fine job, creating a world where anyone and everyone is potentially a lethal threat. Hyper-vigilance is an essential trait for survival, since a casual look can be the only warning you get. Yet that way lies inevitable burnout on an overdose of adrenaline. I’m not 100% certain the final twists quite deliver, at least from a logical point of view: I have questions, is all I can say on the topic. Yet they do deliver a satisfactory emotional payoff, and the journey to get there has been fine as well.
Dir: Eran Riklis
Star: Neta Riskin, Golshifteh Farahani, Lior Ashkenazi, Doraid Liddawi