As they frolic through the city, they meet a cast of colorful local characters - Israel Defense Forces soldiers who patrol the quarter a beggar who fancies himself King David, and a motley crew of vendors, thieves and tourist guides. The charismatic proprietor, Omar, hits it off with Rachel, and the four young people embark on a fabulous Jerusalem adventure: historic sites by day, parties by night. The girls join him for a stay at the picturesque hostel in the Muslim quarter - right in the heart of the Old City. Kevin (Yon Tumarkin) is an anthropology student, intent on researching mysterious cases of resurrection in Jerusalem. Sarah and Rachel, giddy about the upcoming adventure, meet an attractive fellow passenger on the plane. The first part of the film looks like a promotional video for Israeli tourism. Although not exactly a character, with their navigation and face-recognition functions the smartglasses play an important role in the film. Consequently, the frame is shaky and partial, and the picture is subjective and confusing, which works well for a horror movie.
#JERUZALEM MOVIE CAST WINDOWS#
The film is shot entirely through her point of view, with Skype calls, Facebook and video game windows visible to us in the corner of the screen. Sarah is grieving over the loss of her brother, but she is looking forward to the trip, trying out her new smartglasses. Zombies are but a metaphor for what will take place should the so-called Israeli-Palestinian conflict not be resolved.Īpocalypse There: The film ‘Jeruzalem’ depicts a zombie Armageddon. “Jeruzalem” is as engrossing and entertaining as any movie featuring winged monsters and giant demons can be, but it is hard not to read it as, also, a sharp commentary on the current Israel’s self-destructive policies. Like the Weimar cinema before it, Yoav and Doron Paz’s new film about a zombie Armageddon projects a sense of impending catastrophe, an equal-opportunity disaster for Jews, Arabs and others in the eternally embattled city. The artists and filmmakers, whether or not they were conscious of it, intuited the rise of evil and captured it in oblique Expressionists’ angles - a snapshot of the German psyche. In his book, he analyzed Weimar-era German cinema and theorized that its black-and-white monsters, vampires and evil masters prefigured the emergence of fascism (see “Nosferatu,” the Dr. Kracauer was a Jewish writer and critic who escaped Nazi Germany. At the recent Jerusalem International Film Festival, the Israeli horror movie “Jeruzalem” was scheduled to premiere right after “From Caligari to Hitler,” a German documentary based on Siegfried Kracauer’s book of the same name.
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