The Wanderer by Avishai Sivan

Avishai Sivan’s first feature portrays a patriarchal and profoundly religious family, demonstrating a lot of sympathy. Nevertheless, the director watches from a certain distance and is not afraid to create openings for criticism towards the dull existence of Itzakh. He is the main character, a young yeshiva student who wanders the streets whenever he is not busy with the social and religious routine.

It is interesting how the director manages to leave quite a lot of room for the viewers’ interpretations: at times one might admire Itzakh for his determination in his belief. At other times (especially towards the end) one might feel that the character’s faith is actually a convention into which he just tries really hard to fit, because this is what he knows as normality. Even if the director doesn’t directly state it, he doesn’t turn a blind eye to Itzakh’s transformation. It is obvious that we are witnessing a clash between the character’s way of life and the profane life that makes it even harder for Itzakh to accept his kidney disease and his potential infertility. According to his religion he is supposed to get married and have children. His schoolmates don’t seem to be interested in this; still they are preoccupied about having a sex life.

In the end Itzakh obviously gets carried away and ends up taking bad decisions, but it is the public who is supposed to act as a jury and give a verdict. It is not Avishai Sivan’s lack of courage to directly accuse the culprits for the character’s inability to adapt. The Wanderer is a special case of objective observation put to good use for setting the viewers’ consciences in motion.

By Mirona Nicola