Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Tsivia Barkai Yacov
Screenwriter: Tsivia Barkai Yacov
Cast: Avigayil Koevary, Gal Toren, Moran Rosenblatt
Screened at: Critics’ link, NYC, 5/28/19
Opens: June 4, 2019 at the JCC in New York
The five books of the Hebrew Bible contain information about Jewish customs in ancient times, and specifically, in the fourth book, Numbers 19:2 there appears this item. “Speak unto the children of Israel, that they bring thee a red heifer without spot, wherein is no blemish, and upon which never came yoke.” In other words a sacrificial cow must be a redhead, must never have worked, and must be without flaws. Does anybody today put this ancient ritual to use? Surprisingly, one fellow in Jerusalem-born Tsivia Barkai Yacov’s feature length directing debut actually raises a red heifer as a calf preparing to do just that, despite the affection that this fellow’s teen daughter has for the shy and lonely animal kept outside their home. Specifically Yehoshua (Gal Toren), a politically extreme Orthodox Jew believes that the sacrifice will bring about an age in which Jews would no longer be banned from walking on the sacred Temple Mount in the holy city.
His daughter Benni (Avigayil Koevary), who chafes under her dad’s helicopter upbringing, is confused about religion, politics, and especially sexuality. She hears her father’s lectures to like-minded right-wingers who protest a possible evacuation from their illegal East Jerusalem settlement, but she cannot for the life of her understand what’s happening to her country politically. (The action takes place before the assassination of Prime Minister Rabin by a Jewish zealot opposed to his leader’s willingness to give up territory to Palestinians.) And though she is awakened by her father regularly and forced to put on Tefillin with him (the Tefillin contains parchments from the Bible), she has no particular feel for religion.
Most important, when Benni meets Yael (Moran Rosenblatt), more or less the same age but more mature, she is drawn to her. Their mutual feeling results in a lesbian relationship, which is trouble, because Judaism does not condone homosexuality. Dad senses what’s going on between the two girls but restrains himself for the sake of his daughter, though similar leniency may not be in store for Yael. (The scene where the two young women “get it on” is filmed tastefully. Sorry.)
“Red Cow” has universal resonance given that Yehoshua mourns the death of his wife in childbirth, and at the time of the film’s action is sitting Shiva for his own mom, Benni’s grandmother. Yehoshua is so wrapped up in religion and politics that he hasn’t much of a clue on how to deal with his girl’s sexual coming of age, nor can Benni “come out” given that she cannot confess her feelings to another adult notwithstanding her attendance in a class in sexual education. Boaz Yehonatan Yaacov behind the lens makes good use of close-ups, allowing us in the audience to read Benni’s emotions, as she gives in to her rising sexual needs both with and without her young partner.
Extremist politics is woven seamlessly into an intimate family drama, the three principal performers doing their jobs with authenticity. Leaving the film, I felt that Benni will manage to make accommodation with her community but her dad is destined to drive his daughter completely away. Still, I felt bad particularly for the fate of that cute red calf and disgusted by people who feel a need to conform literally to the Bible, not only for the silliness of animal sacrifice but for the prohibition against homosexuality..
“Red Cow” was selected for the Israel Film Festival and will open in New York at the JCC on June 4.
91 minutes. © 2019 by Harvey Karten, Member, New York Film Critics Online
Story – B
Acting – B+
Technical – B
Overall – B+