By Carlos Valdivia

Eyes Wide Open: Ran Danker and Zohar Strauss play ill-fated loversIn recent cinematic history there have been a handful of love stories (In the Mood for Love and Brokeback Mountain are examples) that effectively focus on the quiet moments and subtle glances of everyday relationships. These films envelop us in the intimate world of the characters to create an understated yet emotionally powerful mood. Israeli director Haim Tabakman's feature screen debut, Eyes Wide Open attempts, but ultimately fails to create this type of emotional resonance with the viewer.

Eyes Wide Open is far more complicated than the typical love story-it's about two men who fall in love in the most religiously conservative community of Jerusalem. Devout father Aaron (Zohar Strauss) hires homeless student Ezri (Ran Danker) as an extra hand in his butcher shop. After developing a strong attraction to Ezri, Aaron welcomes the challenge as a way to express his devoutness to his faith. What follows is a strong sexual and emotional relationship as Aaron gives in to his repressed feelings for Ezri and deals with the fallout of their affair in a tight-knit religious community.

Tabakman's handling of a taboo, complicated subject is admirable. His intellectual approach makes for an unbiased depiction of a strictly religious world without praise or vilification. The art direction skillfully creates a tightly compact world, composed of cement walls and buildings that encompass the characters as rigidly as the religious mores control their lives. The beautiful cinematography also helps add to the realistic feel.

Perhaps it is Tabakman's extremely nuanced direction that makes the film stumble despite its strong points. His attempt to create an understated mood fails to create much spark between the two lovers. There are far too many moments of silence that focus on small actions. This works occasionally in scenes between Aaron and his wife, showing their increasing disconnect; but in many other parts, the inertia causes the scenes to fall flat rather than advance the story. The result is a narrative that is more intellectual than emotional, failing to generate much-needed heat for a film that is portraying a forbidden love story. Even the sex scenes are boring.

Nonetheless, I praise the director for tackling a subject that rarely gets much attention. His film illuminates a culture that we often do not hear about, a part of Jerusalem that we almost never see. For that I recommend this film—an eye-opening experience. But do not come to the theater expecting fireworks.

Carlos Valdivia is a media associate at the Levantine Cultural Center.