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The issue of War widow representation in Israeli cinema is one of the most complex for the local industry for it seems to be unique and with a very local and specific iconography. The war Widow is a difficult character to digest. Because this is an especially painful topic in Israel, its mode of representation is almost always problematic. Gila Almagor in Tofano's "siege" is one of the first characters of the "modern" war widows to appear on Israeli cinema screens. The human and social complexity of the status of widows was not represented adequately and personally until her complex and fine appearance in this film. It was mostly Preceded by cliches of heroic women who have sacrificed for the nation with characters to which it was very difficult to get attached, nor to their personal grief. "Siege" was directed by an unknown Italian director of that period. Although Gilberto Tofano was brought as a professional director on the wings of inspiration made by the French New Wave of those years, he managed to turn out a very exciting work which has caught the Israeli warmth and sense of social siege which surrounds the Israeli widows, including the great expectations from them and the social stigmas. Tofano wrapped his leading lady with lots of warmth and gave a place of honor to Almagor's impressive presence in the film. This is without a doubt one of Almagor's best and most accurate performances. The restraint in her performance plus the shooting and expressive use of angles by Tofano and his soft European touch which was far off from the aggressive local product managed to produce a sense of documenting an authentic tragedy with a tangible personal touch that minimized the national dimension. The result stands the test of time proudly several decades after its creation.赵氏孤儿1080P盲目的丈夫们最后一次（普通话）维多利亚的秘密泳装特辑2016烽火岁月湖光山色2011夜曲六天未来玩具闪婚蔷薇又见莲花不可思议的融化人罪人第二季智慧子弹车秦时明月之医者入世女人的秘密战神传说基佬四十世外者们生化危机5：惩罚豚鼠特攻队英语人生遥控器威龙杀手青橙芒果咖啡情迷安东尼何加加的桃花源记庄总，首富姐姐她不装了千里姻缘一线牵浪淘沙宝贝答谢仙人掌嫉妒我叫多麦特约翰·列侬谋杀案：审判疑云你的荒野求生龙虎会风云国语剑豪生死斗山水间的人类奇迹万桥飞架剑与远征-伊索米亚的那些事儿布鲁克林最愤怒的人天大地大红娘1976长生之绝世仙婿
The issue of War widow representation in Israeli cinema is one of the most complex for the local industry for it seems to be unique and with a very local and specific iconography. The war Widow is a difficult character to digest. Because this is an especially painful topic in Israel, its mode of representation is almost always problematic. Gila Almagor in Tofano's "siege" is one of the first characters of the "modern" war widows to appear on Israeli cinema screens. The human and social complexity of the status of widows was not represented adequately and personally until her complex and fine appearance in this film. It was mostly Preceded by cliches of heroic women who have sacrificed for the nation with characters to which it was very difficult to get attached, nor to their personal grief. "Siege" was directed by an unknown Italian director of that period. Although Gilberto Tofano was brought as a professional director on the wings of inspiration made by the French New Wave of those years, he managed to turn out a very exciting work which has caught the Israeli warmth and sense of social siege which surrounds the Israeli widows, including the great expectations from them and the social stigmas. Tofano wrapped his leading lady with lots of warmth and gave a place of honor to Almagor's impressive presence in the film. This is without a doubt one of Almagor's best and most accurate performances. The restraint in her performance plus the shooting and expressive use of angles by Tofano and his soft European touch which was far off from the aggressive local product managed to produce a sense of documenting an authentic tragedy with a tangible personal touch that minimized the national dimension. The result stands the test of time proudly several decades after its creation.赵氏孤儿1080P盲目的丈夫们最后一次（普通话）维多利亚的秘密泳装特辑2016烽火岁月湖光山色2011夜曲六天未来玩具闪婚蔷薇又见莲花不可思议的融化人罪人第二季智慧子弹车秦时明月之医者入世女人的秘密战神传说基佬四十世外者们生化危机5：惩罚豚鼠特攻队英语人生遥控器威龙杀手青橙芒果咖啡情迷安东尼何加加的桃花源记庄总，首富姐姐她不装了千里姻缘一线牵浪淘沙宝贝答谢仙人掌嫉妒我叫多麦特约翰·列侬谋杀案：审判疑云你的荒野求生龙虎会风云国语剑豪生死斗山水间的人类奇迹万桥飞架剑与远征-伊索米亚的那些事儿布鲁克林最愤怒的人天大地大红娘1976长生之绝世仙婿
长篇影评
1 ) 评《芳心封锁》
受新浪潮影响的以色列电影。虚构与非虚构（纪实）影像的交织回荡于Gila Almagor的记忆之中，构建出一个迂回流转的心理迷宫；轻盈而锐利的蒙太奇则剖解战时所带来的无尽创伤，反映在意识流般的错乱的闪回片段中，例如Gila所饰演的widow在逛街的镜头立刻与其亡夫奄奄一息的桥段组接，尽管Gila不曾亲眼目睹，这也赋予了闪回纪实性与臆想的结合性质。现在与过去的交集扩大，战争的梦魇困扰、侵蚀着亲历者与受影响者的精神世界。为走出亡夫的阴影，Gila试图扎进消费主义的漩涡之中，一连串杂志、广告等商业宣传影像的照片蒙太奇图解了Gila的消费欲望，然而结局徒劳无益。以收音机、电视为代表的媒介进入公众生活，作为政府的宣传口舌连续不断地反写着角色，抵达某种不可见的幻象。接收者一端的Gila对此的态度也发生了微妙的偏移，从抗拒一切收音机所播放的新闻报道变为购置一台价格不菲的电视机。而导演Tofano为媒介书写者则尽其所能通过found footage的插入：越战影像、阿以战争影像，甚或主动在结尾处打破第四面墙的选择，导演及剧组直接现身，聆听着收音机播报的战争快讯，皆为电影及战争祛媚。
2022.8.30
重看；3.5；是散文也是檄文，日常的温柔捕捉与创伤阴影的覆盖被剪辑在同一场景的维度，如席卷过灵魂的闪电，同时照亮了希冀和痛苦，战争的国度无法拥有幸福的资格，两段映照的情节让人不敢想象留白的结尾；电影可以戛然而止，可以断然结束一个故事，而第四堵墙外的现实依然在炮火连天。
Love&Peace//视听声画上挺新浪潮的 从感情生活带向社会生活 战争的阴霾从未消散何况战争尚未停止//大部分社会状态都是如此 希望女人能够忠于某一男人且道德要求极高 女人的生活似乎在她们选择结婚的那个瞬间就彻底停止了//即使算上真实感受到幸福愉悦的感情 生活也要基于那个男人的健康平安收入稳定//人们渴望和平 在一定程度上是不愿再为生死而担惊受怕//娜拉总是要出走的
和平影都观影。广播成为叙事的一个重要元素，几段快速闪回跳切现实让人印象深刻。以色列全民参军的形势让战场的友谊延伸到日常生活，最后的反战价值观也升华了主题。
人如何鼓起勇气重新生活又被击溃，战争让所有人的精神状态都支离破碎。与此同时是更崩溃的msl世界。
以色列电影周和平atmos厅，2017年4k扫描2k修复，入选戛纳经典，8.1分+1，这部融合了纪录片般真实的手持特写，与新浪潮快剪的电影，在最后一刻摄影剧组片场聆听阵亡士兵名单的那一刻，达到了残忍无比的真实2，埃利在荒芜的沙滩边，背起右脚在战争中残废的战友约西，与战场上背起受伤约西的蒙太奇，是全片剪辑密集轰炸中，我觉得最惊艳的一段3，你见过早上5点的机场吗？那是被生活遗弃的孤独之人，唯一可以放开胸怀肆意拥抱亲吻，并与死亡告别的地方3，无处不在的门和窗，隐喻着被战争压迫与摧残的封闭之心，塔玛与大卫在新房中的那次房门，是全片唯一一次出现的正面构图，其隐喻不言而喻，可再美好的重拾信心在收割头颅的战争面前也是枉然天下战争无新鲜事，唯有死亡是主旋律，大家口中心心念念的“和平”仿佛是痴人说梦
战争之下，幸福就像幻觉，悲剧重复上演
#以色列电影周 虽然前半部分有点看睡着，后半部分的内容完全可以惊醒。看这部片子会想起基耶斯洛夫斯基的感觉，深刻。尤其是剪辑，混剪居然如此精彩，穿插镜头和对比着实有趣，一喜一悲，战争之下，人们多么渴望和平。战争之中，流言依旧可畏，同时，爱是治愈！
Zoom，快速剪辑，广告牌跟人脸特写，战争镜头切换手持，这些摄影设计都很喜欢。再加上时而嘈杂时而消声的音效，把前面成为寡妇夹在各方关注中无所适从的疏离感表现的很好。后面还能磕到浪漫的推土机司机这条感情线，一起去机场假装是异地归来的情侣重逢，劝慰重回工作也让女主走出丧夫的失意。最后士兵好友们逐渐接受司机，配乐摄影也跟着柔和起来，紧接而来的变故让结尾落到反战。#以色列电影周@和平影都
【013】以一位寡妇的视角写战争的无常与残酷，导演是否企图用一种纪录片的形式来拍摄我不得而知，中间几个闪回而重复的镜头很有意思。
#以色列电影周# 前半段真是新浪潮的闷，后半段战友们和新男友的对立一下子加强了戏剧性。而结尾又把女主推进战争的焦灼，和平什么时候才能降临。
结尾很有意思
新浪潮魅力，人物的情绪外化在镜头的游弋中，宛如电台调频，镜内zoom大跨度变景别，战争声画交叉剪辑进现实（背人行走蒙太奇），一切都关于widow，使她成为widow的创伤，与想要从widow中走出的希望，都在影像中交融，一隅的岁月静好是可能的吗，如果外在的和平摇摇欲坠？意大利导演拍摄以色列，是历史，也是原型。
啊新浪潮全世界的新浪潮，以色列的新浪潮同样十分之好看呀！高于叙事的情绪的流动极有味道；丧夫的她仍被人指指点点“她怎么不崩溃”，寡妇也得被迫演好寡妇的“表演”着实犀利的人性描摹；几处交叉剪辑印象特别深刻，她为了调整心态的买买买与墓地里的孤儿寡母、海边盆友打闹扛着和战场上扛着受伤的战友，兼有叙事与表现手法之功能；她一再一再活在恐惧中，一则新闻报道便胆战心惊，何时中东不再战乱不断，不再担忧被炸断腿，能一起沐浴在平和宁静的午后街区，最后的“花絮”标准自反功能的使用了，戏里戏外战争的阴影始终不断，唉时至今日，他们的心愿仍未实现 #以色列电影周#@和平
我看这种主人公命运很无可奈何的电影总是很难受，后半段一度觉得塔玛可以有好的日子过了，最后到底David出事没有没看明白。唉。
和平与绑架，最浪漫不过机场的戏：假装离别、尽情拥抱。结尾也很加分。（和平影都 以色列电影周
看的过程中昏睡过几次……有几处口琴好听，穿插着新闻里真实的战争镜头，反战主题意义明确。喜欢女主的冷艳凛冽，和寡言中略带性感的推土机情人有真实的火花。最后一幕好像是拍戏杀青后的真实情况？
很喜欢开始那些闪回和穿插对比：失去丈夫的妻子人前欢笑人后落寞，聚会结束除了留下一桌狼藉并不能带来多少安慰。沙滩边他扛着失去了一条腿累于行走的战友嬉戏着，原来战场上也正是被他这样扛着救出。
前面太闷了，后来走出了战争阴影就好多了。战争遗孀的情感生活如何与战争密切相关。不只是他的前男友，现男友，想到她儿子乌里也要参加预备役，她又要经历一次提心吊胆，其实在战争面前，男女都经历着同样的痛苦。全民皆兵的国家里男性至少有一个共同话题，那就是参军。
6。芳心为何锁
战争的痛苦，好不容易面对新生活，又面临了一波波的打击。结尾值得多一颗星