Waltz with Bashir

Waltz with Bashir, directed by Ari Folman in 2008, is an Israeli film that elegantly occupies the hybrid space between documentary and animation, combining both genres in a profoundly imaginative way. Ari Folman doesn't just blur the line between fantasy and reality but, in many ways, obliterates it, making Waltz with Bashir a film that defies conventional categorization. The blending of captivating animation with devastating real-life events innovatively conveys one man's journey into the past, requiring him to confront long-repressed traumatic memories.

The film stars Ari Folman, who not only directed and wrote the screenplay for the film but also portrays himself. Folman's animated alter-ego stands in as the film's protagonist, wrestling with nightmares and fragmented memories of his experience as an Israeli soldier during the 1982 Lebanon War. The dream-like quality of the animation complements Folman's sporadic and incomplete memories, underlining the surreal and often hazy realities of war. Joining Folman in the cast are Ron Ben-Yishai and Ronny Dayag, who, like Folman, delve into their pasts to narrate their experiences during the war.

Waltz with Bashir opens with a haunting dream sequence, introducing us to a middle-aged Ari Folman, suffering from insomniac visions where he is relentlessly pursued by a pack of 26 snarling dogs. This intrigue leads him to meet with a childhood friend and fellow veteran, who also reveals his own nightmares linked to their shared war experiences. When Ari realizes that he is unable to remember anything about his time in the Lebanon war, he embarks on a mission to rediscover his lost memories.

The film unravels as Folman visits old friends and former soldiers across the world, delving into their perspectives and experiences to reconnect with his own past. The film masterfully employs rotoscope animation, which involves tracing over footage, frame by frame, which gives the movie a unique look - one that isn't entirely realistic but isn't classically cartoony either. This form of animation works particularly well in the context of the film, considering its themes of memory and trauma.

One of the most striking aspects of Waltz with Bashir is its treatment of war. It doesn't shy away from painting a stark and brutal picture of the horrors and absurdities of military conflict; it also doesn't glorify or romanticize it. It unpacks the psychological impact on those caught in its grasp and grapples with the collective national trauma that arises from violent conflict.

The original score of the film is another essential component of its overall impact. The score composed by Max Richter complements the animated sequences, amplifying the psychological intensity of the film. It is a melancholic, haunting and, at times, disturbingly dissonant mix of electronic and orchestral music, which mirrors the chaos and confusion of war.

Moreover, the film bears an unusual but intriguing title - 'Waltz with Bashir.' The title refers to a particular scene within the film, a surreal sequence involving an Israeli soldier dancing with his machine gun amidst the chaos and danger of war. Meanwhile, Bashir is not the character within the movie, but a historical figure, Bashir Gemayel, whose assassination triggered one of the war's deadliest massacres – subjects that lie in the penumbra of the film’s narrative.

Despite its setting, the film is not overtly political. It does not take sides or make any attempt to delve into the complex politics from which the war arose. Instead, it is a deeply personal introspection of memory, responsibility, and the human cost of conflict.

The film won widespread critical acclaim for its refreshing storytelling techniques. While it was denied a Best Foreign-Language Film nomination at the Oscars because of its predominantly non-live action format, it was successfully nominated for Best Foreign Language Film at the Golden Globes and won the top prize at the Annecy International Animated Film Festival.

In conclusion, Waltz with Bashir offers an intimate look at the psychological landscapes of those afflicted by war. It does not focus on grand battle scenes or geographical gains, as is common in war films. Instead, it opts for a deeply personal narrative that delves into individual human experiences, making it less a war film and more a visual memoir in moving pictures. The film's combination of animation and documentary techniques results in a powerful narrative tool and an immersive cinematic experience — a waltz through the battlefield of memory.