In the glittering satire ‘Yes,’ the party rages on in Israel, while guilt is optional

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I was completely captivated by Nadav Lapid’s film, “Yes.” It’s not a simple, cheerful affirmation – forget saying ‘yes’ to another treat! And it’s definitely not enjoyable in a cheesy, guilty-pleasure kind of way. What really struck me was how the film explores a much deeper, unsettling kind of surrender – the kind where someone loses themselves completely. It’s surprisingly funny, though, a really dark and clever comedy – the best I’ve seen in a long time.

Early in the film, we meet Y (Ariel Bronz), a tense but wiry man with a beard, who shares his unusual philosophy in a quiet voice. While biking along a Tel Aviv beach at sunset, he tells his baby son to surrender – to the sea, to simple pleasures like a winter shirt or a kind smile, and to do so as soon as possible. This is his way of coping with the overwhelming and constant news alerts about attacks that are causing him immense stress.

It’s surprising to see Y, a pianist and songwriter, and his wife Yasmin (Efrat Dor), a hip-hop instructor, enjoying a peaceful home life – especially since their child was born on October 8, 2023. They have a vibrant energy, like Nicolas Cage and Laura Dern’s characters in “Wild at Heart,” but grounded in everyday life with a family. Usually, they’re the life of the party at events hosted by Israel’s elite, known for their wild antics – stripping down, diving into food, and starting dance-offs to songs like La Bouche’s “Be My Lover.”

Sometimes, the characters are rescued from exhaustion, and other times, they allow privileged individuals to take advantage of them. The film “Yes” notably features explicit scenes of both intimate oral connection and subservience. Director Paolo Sorrentino’s 2013 film, “The Great Beauty,” began with a similar focus on indulgence. While stories like these often lead to a character’s eventual regret, this film instead pushes further into a world of unrestrained desire – a deeper embrace of saying ‘yes’.

Movies

We went in with incredibly high hopes, and we weren’t disappointed! We found ten films that truly blew us away, including impressive new releases from directors Lynne Ramsay, Jafar Panahi, and Nadav Lapid.

Lapid isn’t particularly popular in Israel, where he currently lives in Paris. His films often feel unsettling, and he frequently explores what it means to be Israeli, usually with a sense of discomfort. His previous work, especially the 2019 film ‘Synonyms,’ focused on characters struggling against the pressures of their culture.

The series confidently takes a more outlandish turn with “Yes,” showing a greater willingness to shock and provoke. The show is filled with exaggerated displays of Israeli nationalism, featuring characters who are clearly satirical: tough, overbearing army generals, a wealthy and decadent Russian oligarch (played by Aleksey Serebryakov, known from “Anora”), and commentators who resemble Trump, with phone screens for heads. As the main characters, Y and Yasmin, face the reality of their stalled careers, a tempting offer arrives for Y: to write a patriotic song for a new generation. Given the show’s tone, his acceptance is no surprise.

It’s remarkable how quickly Lapid changes after a chaotic first hour. He seems to be struggling with embarrassment about accepting the job – or perhaps just acting like he is – and responds by dyeing his hair blonde and driving into the desert, eventually reaching the Dead Sea. He puts on headphones and listens to Bach while lost in thought, but can’t seem to find a solution or come to any conclusions.

He’s primarily hoping to reconnect with Leah, a straightforward friend from his past who quickly proves to be more than just an old love interest. She represents a lost sense of innocence that both of them seem to need to rediscover. Although she now works as a spokesperson for Israel, their undeniable physical attraction is clear when they playfully take over a restaurant’s piano, entertaining the customers.

Review

Nadav Lapid’s ‘Synonyms’ is a brilliant, corrosive portrait of a man without a country

Nadav Lapid’s award-winning film follows an Israeli man in Paris as he experiences a surprising and unsettling personal transformation, questioning who he is.

As they drove, Leah unleashed a heartbreaking account of the atrocities she’d seen committed by Hamas. Her words became a raw confession, and the road, despite leading them closer to the visible violence, strangely felt like it was distancing them from truly processing their own suffering. In the distance, over a hill, Gaza was ablaze, with dark smoke billowing into the sky as fighter jets flew overhead.

Okay, so this film doesn’t shy away from difficult imagery, and even more impressively, it connects those tough visuals to the idea of making personal sacrifices. While it probably won’t change the minds of anyone already set in their ways, I think it’ll make anyone watching realize how ridiculous it is to even try to create something fueled by hate – especially when you see the raw emotion of the lead character yelling those awful lyrics. The director does get a little heavy-handed with the symbolism in the middle – a bit too much rain and storm imagery for my taste – but overall, he’s crafted a film that really gets under your skin and explores some uncomfortable truths.

The film has a striking visual style, with the cinematography expertly balancing vibrant, almost cartoonish energy and gritty realism – a realism that even includes a live duck appearing in a memorable scene. The movie also features a shift to grainy video footage, and a surprising musical performance that’s best experienced without spoilers. It’s worth noting that the story isn’t entirely fictional.

Yasmin returns home with her baby, Noah, and is understandably angry. When she finally meets up with Y again – a reunion mirroring the stylish tension of the film ‘Contempt’ – they’re both caught up in their own comfortable worlds, making it unclear how they can resolve their issues. The film, ‘Yes,’ captures this frustrating standstill in a powerful way. It portrays a society divided against itself, desperately trying to maintain a fragile peace. Watching it, you can easily imagine a Hollywood adaptation, and it makes you question whether an American filmmaker with Lapid’s unique vision could even exist in the current landscape.

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2026-04-03 21:01