A fascinating political allegory Our collective memories, rooted in past traumas like the Holocaust and subsequent conflicts, hold more weight than present realities or logic. This isn't an attempt to excuse our behavior; it’s an explanation of it. As seen in his previous work, _Lebanon_ (2009), writer/director Samuel Maoz explores similar themes in _Foxtrot_; the absurdity of war, the desensitization of young people during wartime, and the meaninglessness of sacrificing one's life for a country. While _Lebanon_ was confined to the interior of a Centurion tank during the 1982 Lebanon War, _Foxtrot_ is set in contemporary times and expands on Maoz’s concerns to examine the grief experienced by families who have lost children in military service. Like its predecessor, _Foxtrot_ is intensely political and has sparked controversy within Israel. Whereas _Lebanon_ was criticized for discouraging young men from joining the IDF, _Foxtrot_ has been accused of slandering the moral character of the force. The film is meditative and contemplative, relying heavily on metaphors and non-action—events happen to the characters rather than being driven by them. This reflects a theme of our inability to control fate or chance. Maoz’s technical skill and command of the medium are evident, making the film both aesthetically striking and politically divisive. _Foxtrot_ is a harsh condemnation of a national psyche and military mindset that reinforces divisions and blurs the line between personal honor and political ideology. It's not always an easy or entertaining watch, but it’s undeniably a skillfully made and deeply passionate work. The film unfolds in three distinct sections. The story begins with Michael (Lior Ashkenazi) and Dafna Feldman (Sarah

Source on TMDB