Fill the Void
Lemale et ha'halal

Israel’s submission for 2012’s best foreign-language film, described as “the first feature film made by an orthodox Hasidic woman,” is a richly drawn portrait of a culture as seen from the inside. Rama Burshtein’s personal and fascinating film presents a familiar story--a marriage plot set right after a tragedy--contained in an unfamiliar and very specific culture. Young Shira (played by Hadas Yaron) is part of an ultra-orthodox Hasidic community in Tel Aviv.  Unlike the storyline of so many modern films of this ilk, she is not rebelling against the strict confines of her religious and cultural tradition, she is living them to the fullest; just as excited about her potential wedding as any Jane Austin character, even though hers is an arranged marriage to a young man she barely knows.  The characters refer to being “married off” and unions in this community are formal, brokered transactions, but we see that the feelings of the potential brides and grooms are as important to the equation as any other factor.

The movie, part comedy and part drama, is as free from modern secular perspective as it is rich in observed cultural detail. We watch this story unfold without needing to have any of the societal specificities explained to us. When the central problem arises, we understand the ramifications of all potential solutions and we enjoy watching Shira navigate her options.  The film has no real antagonist so the conflict comes from her internal predicament. She is torn between her loyalties and her dreams, her desire to have the rich full life she deserves and her understanding that not all girls get to have that full rich life.

Burshtein and cinematographer Asaf Sudri shoot with very shallow focus that renders only one thing sharp in each frame. This is an effective choice that draws attention to specific people, props, decors and facial features. It visually accentuates the inside-the-bubble experience of watching this film. Each actor brings distinction to their character so it is never unclear who is who or which individual is being referenced in a conversation, despite the near-identical dress of Hasidic men and similar styles of Hasidic women. Fill the Void is a refreshing take on the coming-of-age story.