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Foxtrot (2017) FotW #380

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Foxtrot (2017) FotW #380


Post by joachimt »

Film of the Week #380: Foxtrot (2017)


A troubled family must face the facts when something goes terribly wrong at their son's desolate military post.

#336 on 500<400, with 332 checks.
Nominated by 72aicm and blocho.
On iCM

From the 500<400 results
#336(NEW) Foxtrot (2017)
Directed by: Samuel Maoz
(358.29 Pts, 11 Votes) , Top 1–10–50: 0–1–3
History: 336887NANANANANA←NA
ICheckMovies: 309 Checks , 33 Favourites , 0 Official lists
List of Voters:
Teproc (5)
ckfilm88 (11)
Fergenaprido (45)
cinewest (NA)
Lonewolf2003 (95)
cayh (122)
dinah (NA)
Timec (164)
beavis (186)
Gorro (190)
RogerTheMovieManiac88 (NA)

Here is a schedule of all the FotWs.
Here is an iCM list of all FotWs.

This movie fits the current Middle East Challenge.
Fergenaprido: "I find your OCD to be adorable, J"
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Post by monk-time »

I was very impressed with this one. Eclectic styles and a free-wheeling approach to the narrative seem somehow very fitting to the topic of personal trauma and military inhumanity, which could be seen as a metaphor for Israel's past and present. Samuel Maoz's previous movie (Lebanon) was fantastic too. Looking forward to his future work.
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Post by Fergenaprido »

Watched this last September, probably specifically for the <400 poll.

Great film, and I agree with monk's assessment of the eclectic styles. It almost feels like three disparate stories, but they are wonderfully interwoven and deeply connected. Moments of great humour and sadness.

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Post by cinewest »

Very good film, I agree. Starts out as one kind of thing, and then morphs into a well scripted, well acted Farhadi type family drama.
Also made me think of a couple of Danish films I have seen not too long ago, including Brothers by Susan Bier, though the styles and story lines are different.
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Post by blocho »

Foxtrot is a movie both simple and bewildering. It can best be described as a three-act tragedy, with each act unfolding asynchronously and in complete stylistic opposition to its predecessor. The first act is clinical and detached, the second phantasmagorical, and the third strangely warm and familial. There's a lot going on in this movie -- the details matter, from the acting choices to the set design to the very brief appearances of two thematically important animals, a camel and a dog. It's hard at times to say what it all adds up to, though a shipping container slowly sinking into a mudpit may provide the clearest metaphor for the filmmaker's outlook.
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