By Sascha Krieger
Synonymes (Competition / France, Israel, Germany / Director: Nadav Lapid)
A young Israeli man turns up in Paris, leaving everything behind: his family, his country, his language, himself. Ar the start, he literally loses everything, stands there naked, ready to start a new life. Tom Mercier plays this nervous man as if continually haunted, daring himself to never look up, repeating French words obsessively, particularly negative adjectives for his native Israel, a kind of exorcism through language. He is repeatedly lashing out, freaking out, turning himself into a god of vengeance. Repeatedly he revolts at perceived falsehoods. A madman or a saviour? Both? Noav is a man without a home, without an identity, looking for his own synonym. He meets a young French couple, begins a fragile, fluid relationship with them, calms down only to get lost again among his stories he tries to give up but cannot. Stories of heroism, violence, death, running away. Which he is, the hand-held camera always close. A personified state of emergency, a man constantly on the edge in a world constantly on the edge. Colours are pale, washed-out, the images always on the brink of exploding. Because he denies where he came from he has nowhere to. Sitting on the wire, he can smell a new home but never reach it. He arrives from a place about to be extinguished at all times at one that’s slowly reaching this point, too. The normal is always on the edge of turning into the bizarre, absurd, surreal. Director Nadav Lapid’s film is like a nervous breakdown permanently about to happen and happening. He puts things on too thickly at times but that, too, is part of the disease. Welcome to this world. It’s about to end. A demanding film, an annoying film. And one that haunts you.