‘Yes!’ Review: Director Nadav Lapid’s Decadent Romp Through the Madness and Misery of Post-October 7th Israel

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Israeli filmmaker Nadav Lapid consistently tackles the turbulence of his native land through a series of dramas, including “Policeman”, “The Kindergarten Teacher”, “Synonyms”, and “Ahed’s Knee”. Characters in these films often find themselves in volatile circumstances, both externally and internally. The camera persistently follows their actions, providing a close-up view of their struggles. Lapid’s work is deeply rooted in politics yet remains poetic and personal, deviating from conventional narrative structures to adopt an expressive style characterized by striking aesthetics, emotional turmoil, and the occasional incorporation of music.

If “Ahed’s Knee,” released in 2021, was a passionate cry against the establishment in Israel, the director‘s new film, “Yes! (Ken!),” escalates this theme. It centers around a young pair, Y. (Ariel Bronz) and Yasmin (Erfat Dor), who trade their bodies and souls to the wealthiest buyers. The movie is intentionally provocative and excessively extravagant, pushing boundaries by graphically portraying acts of self-harm, both physical and psychological.

Lapid penned “Yes!” prior to the October 7th massacre and ensuing conflict in Gaza, which undeniably shapes the entire film. Not just Y., who is a jazz pianist, hype man, and gigolo, but agrees to create a fresh national anthem to harmonize with the IDF’s extensive, ongoing assault on Palestinian lands, composes scenes within the movie amidst Gaza’s flames in the backdrop. Although the director admits Hamas’ war crimes, his perspective of his own nation is undeniably grim and critical: In a society dominated by brutality, fanaticism, and wealth, one can either conform and endure or choose to abandon such a place.

It’s surprising to find the Israeli Film Fund among the film’s financiers, as “Yes!” doesn’t seem to evoke a desire to visit Israel, unless one is a wealthy drug user. The movie portrays a lifestyle filled with extravagant parties, expensive trysts, and pulsating techno music that could potentially damage your eardrums. Comparisons to Paolo Sorrentino’s “The Great Beauty” and Boccaccio’s “The Decameron” arise as we witness the protagonists, Y. and Yasmine, engaging in physically demanding activities, excessive drinking, and what appears to be an ear orgasm for an older woman, all while catering to their wealthy patrons.

Lapid excessively intensifies the scenes to make them uncomfortable, as Shaï Goldman’s camera spins erratically, like an unsteady dancer on the brink of vomiting, and Pascale Consigny meticulously includes Israeli flags in the backdrop of almost every location. Despite these moments being tiresome to watch, both Y. and Yasmine seem to enjoy themselves, or at least put on a show of it, partying vigorously during the night and then tending to their cute baby boy in a humble Tel Aviv apartment the next morning.

They appear to be good individuals – youthful, attractive, and deeply in love, struggling to thrive in a nation that seems to have lost its sanity. Yasmine is a skilled hip-hop dance instructor, whereas Y. is a gifted musician yearning for a major breakthrough. When he agrees to compose a Zionist song, funded by an extremist Russian oligarch (Alexey Serebryakov), he effectively trades his soul to the devil and barely manages to stay alive.

Near the movie’s conclusion, a video of the song is revealed, which is an authentic scene from a pro-IDF propaganda film. Children can be seen singing lyrics that glorify their nation’s military power over the Palestinian opposition. Earlier in the story, Y. navigates through a boisterous street party celebrating Israel’s Independence Day, encountering groups of men shouting, waving flags, and dancing exuberantly to pulsating techno music.

Indeed! The film might seem overly intense and disconcerting, given its length of 2 hours and a half, making it less appealing to those seeking lighter art-house films. However, Lapid is attempting to portray that his depiction isn’t an unwarranted exaggeration but rather a reflection of his personal truth about his homeland. He has crafted a bold film expressing what he perceives as the aggression inherent in Israel, centering around two Israelis who are either striving for success or devising an escape plan.

The film unfolds across three acts, with the middle portion, titled “The Journey,” serving as a prolonged segment where the couple separates. Y leaves town to work on his song and encounters Leah (played by Naama Preis), an old flame from music school who’s now working as a translator. Together, they traverse the desert and approach the Gaza border. A notable scene, filmed in one continuous shot, features Leah recounting the gruesome details of the October 7th atrocities that she translated for the victims. Later, they ascend a hill offering a view of Gaza City, shrouded in smoke and echoing with the sounds of gunfire and explosions.

Despite the wild festivities portrayed in the film “Yes!” (which a friend calls “120 Days of Shalom”), Lapid doesn’t flinch from depicting the pain of his fellow Israelis or the consequences following the massacre. However, if the director was critical of his country before, the current situation is so dire that it appears he can only express this through a form of self-critical filmmaking. His latest work offers no comfort to those yearning for peace in the Holy Land, and as an expatriate who has resided in France for years, he seems to be distancing himself from Israel with a strong “No!

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2025-05-22 15:24