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    Israeli Filmmaker’s Critique of ‘The Kashmir Files’ Draws Fierce Backlash

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    The filmmaker, Nadav Lapid, criticized “The Kashmir Files,” a Hindi-language film that depicts a violent chapter in the restive region of Indian-administered Jammu and Kashmir.NEW DELHI — A prominent Israeli filmmaker who sharply criticized a popular but contentious Indian film at a government-sponsored film festival faced a police complaint on Tuesday as Israeli diplomats scrambled to apologize.The filmmaker, Nadav Lapid, used his closing remarks at the festival, which was in the Indian state of Goa, to criticize “The Kashmir Files,” a Hindi-language feature film depicting a violent chapter in the restive region of Indian-administered Jammu and Kashmir during which members of the Kashmiri Pandit community were persecuted, attacked and killed.The violence and subsequent exodus of Kashmiri Pandits, a Hindu minority in the Muslim-majority region, occurred during a militant insurgency against Indian rule in the late 1980s and early 1990s. The film, a blockbuster hit that includes graphic scenes of violence, has been heavily promoted by India’s ruling Hindu nationalist party, the Bharatiya Janata Party, as a moving reflection of a sordid chapter in Kashmir’s history.State governments controlled by the B.J.P. gave their full endorsement of the film. Government workers were given time off to see the movie, and got tax breaks on tickets. The party paid for movie tickets for party workers, and later organized screenings.Some film critics and opposition politicians, however, found the film dangerously and unnecessarily provocative. The film supports a B.J.P. narrative of Hindu persecution to emphasize subjugation, a theme that is often repeated in political speeches and in efforts by top government officials to rewrite India’s history, playing up violence committed by Muslims against Hindus.The filmmaker, Mr. Lapid, issued his critique on Monday in remarks at the International Film Festival in India, where he was the festival’s jury head.“That felt to us like a propaganda, vulgar movie, inappropriate for an artistic competitive section of such a prestigious film festival,” Mr. Lapid said.“I feel totally comfortable to share openly these feelings here with you onstage,” he added, “since the spirit that we felt in the festival can surely accept also a critical discussion, which is essential for art and for life.”Nadav Lapid during the 74th Cannes Film Festival in France in 2021.Eric Gaillard/ReutersThe backlash to his remarks — from Indian politicians, Bollywood actors, Israeli diplomats and members of the public — was swift and severe.A Hindu lawyer in Goa filed a police complaint against Mr. Lapid early Tuesday, citing a criminal law that prohibits speech that deliberately offends religious sentiments.Israel’s ambassador to India, Naor Gilon, condemned Mr. Lapid’s comments on Twitter as “presumptuous and insensitive.”“You should be ashamed,” he added of Mr. Lapid, complaining that the filmmaker’s speech had made the work of Israeli diplomats in the country more difficult.There was no immediate response to messages sent to Mr. Lapid for comment. But earlier during the festival, he told an entertainment trade publication in Goa that he was participating in the festival not as an ambassador for Israel, but as an artist who travels the world seeking out different cultures.“If I wanted to represent Israel, I would have gotten into diplomacy,” he said in the interview.Israel’s consul general, Kobbi Shoshani, told a local TV news network that he didn’t agree with Mr. Lapid’s assessment of the film, and that his speech was a “big mistake.”The veteran Bollywood actor Anupam Kher, who starred in “The Kashmir Files,” also called Mr. Lapid’s comments “shameful,” drawing a comparison between the Jewish Holocaust and the exodus of the Kashmiri Pandits.“It’s shameful for him to make a statement like this,” Mr. Kher said on Twitter. “Jews have suffered Holocaust and he comes from that community.”Mr. Lapid’s comments underlined India’s growing polarization under B.J.P. rule. While members of the main opposition Congress party said “hate was eventually called out,” members of the B.J.P. asserted that the “truth” about Kashmiri Pandits “will triumph.”On social media, some Indian writers and members of the political opposition defended Mr. Lapid’s right to critique the film on its merits.In India, the response to “The Kashmir Files,” which was released in March, has been deeply divided along political and sectarian lines. Nonetheless, it is a commercial success. Despite having no song-and-dance numbers — a staple feature of Bollywood movies — the film was an instant hit, grossing more than $43 million in worldwide sales. It cost about $2 million to make.The festival featured more than 280 films from 80 countries. Anurag Thakur, India’s information and broadcasting minister, singled out the Netflix series “Fauda,” from Israel, for praise. The series is a hit in India, and its fourth season premiered at the festival.Mr. Thakur also spoke, in Hebrew and English, of the two countries’ growing ties.“We have conflict in the neighborhood,” he said. “At the same time, we have thousands of years of history.”“India will be the content hub of the world in the near future,” Mr. Thakur added. “This is the right time to collaborate and reach out and make films around those stories which are not told to the world. India is the place and Israel is the right partner.”Mr. Lapid’s comments also no doubt embarrassed the government of Prime Minister Narendra Modi, which organized the festival, and has paid special heed to India’s increasingly close relationship with Israel. The government found itself in the awkward position Tuesday of trying to distance itself from a head juror whom its festival committee had selected and given a platform.“His attempt to politicize the I.F.F.I. platform, which celebrates diversity in filmmaking by way of stories, narratives and interpretations by filmmakers, is unacceptable and condemnable,” Kanchan Gupta, a government spokesman, said of Mr. Lapid, and referring to the International Film Festival of India, the event’s official name.“Mr. Lapid is welcome to his personal views but the I.F.F.I. platform is not meant for airing those views,” he added. More

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      ‘Ahed’s Knee’ Review: A Filmmaker’s Agony in the Desert

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      Nadav Lapid’s new film, about a brooding director much like himself, is a howl of rage at the state of Israeli society.“Ahed’s Knee” is the Israeli director Nadav Lapid’s fourth feature film. The first three — “Policeman” (2014), “The Kindergarten Teacher” (2015) and “Synonyms” (2019) — are in their different ways works of social criticism. They take aim at what Lapid sees as modern Israel’s political, moral and spiritual shortcomings, focusing on characters whose personal agonies mirror the national crisis.Though its themes are the same, this movie is different. It’s a howl of rage. The person doing the howling isn’t exactly Lapid, but someone who might easily be mistaken for him: a filmmaker in his 40s working on a project called “Ahed’s Knee.” There are other biographical details that link this fellow, known only as Y (and played by the raggedly charismatic Avshalom Pollak), with his creator. He’s in close contact with his mother, who works on his films with him and who is dying of lung cancer. Lapid’s mother, Era, who died of that disease in 2018, was his regular editor.The plot of “Ahed’s Knee” arises from a professional conflict that really happened to Lapid. (Y’s project is based on a more public event: a widely reported confrontation between Ahed Tamimi, a Palestinian teenager, and Israeli soldiers in 2017.) There’s no doubt that this is, in several senses, a personal film. But that doesn’t mean that the character is simply the author’s mouthpiece; one of the things that gives this movie its raw, unbalanced energy is the indeterminacy of the distance between them.Y has a habit of standing too close. This is evident as soon as he meets Yahalom (Nur Fibak), a young woman who has organized a screening of one of his films. She is a big fan of his work, and also an employee of the Ministry of Culture, commitments that turn out not to be entirely compatible. The immediate, unnerving intensity that springs up between them is both a portent and a misdirection. Will this turn into the story of a troubled artist finding a new muse, or perhaps a #MeToo parable of male entitlement run amok?Both seem plausible, but what happens is more unsettling. Y’s movie is being shown at a public library in a village in the Arava, a sparsely populated, austerely beautiful desert region in southern Israel. Y, who is (like Lapid) from Tel Aviv, has never been there before. The strangeness of the landscape and the blazing heat may contribute to his emotionally volatile state, but what pushes him to the edge is a document Yahalom asks him to sign. It’s a list of approved topics for his post-screening talk, and a promise that he’ll stick to them.Is this a bureaucratic formality or a sign of creeping fascism? Yahalom’s request seems to confirm Y’s darkest suspicions about Israel’s drift away from democracy and cultural vitality, a brooding, passionate pessimism that will be familiar to anyone who has seen Lapid’s previous films. Unlike other politically minded Israeli filmmakers, he doesn’t concentrate on the Palestinian conflict or on the simmering culture war between Israel’s secular and religious citizens. When those matters come up, they appear as symptoms of a larger, less easily defined malaise having to do with the sacrifice of Jewish ethical norms, political ideals and intellectual traditions on the altars of power and materialism.There is something deeply conservative about this attitude, even if Lapid’s allegiances — and Y’s — are clearly on the left. The difference between the two directors might just be that Lapid gives vent to his despair by making a movie — with beautiful, hallucinatory shots of the Arava and splinters of comic absurdism — whereas Y throws a tantrum, alienating his audience and humiliating his biggest fan.Or: the real filmmaker retreats into his art, whereas his fictional counterpart is bold enough to make a scene, hurt some feelings and possibly risk his own comfort and career. Neither one asks to be taken as a hero. Y, on a dating app during the pre-screening reception, boasts to a potential companion that he won a prize at the Berlin Film Festival. That’s where “Synonyms” was awarded the Golden Bear. The privileges granted to artists can always be held against their art, and so can their personalities. It’s possible to reach the end of “Ahed’s Knee” with just one question in mind: What is this guy’s problem? The answer is complicated, because it isn’t only one guy’s problem.Ahed’s KneeNot rated. In Hebrew, with subtitles. Running time: 1 hour 49 minutes. In theaters. More