Published Mar 01, 2005I don't want to tell you much about Walk On Water. In fact, I don't want to tell you anything at all. That's because I want you to go and see it; I want everything in the film to be a wonderful surprise for you.
Typically, this is the part of the review where the plot is summarised, but you'll get nothing out of me. I will, however, list some of the major ingredients. There are great actors playing complex characters. There's the homophobic Mossad agent, Eyal (played by Lior Ashkenazi from Late Marriage), the gay teacher from Berlin, Axel (played by Knut Berger from 2003's Wir) and his adoring sister, Pia (played by an enigmatic Carolina Peters).
There's a clever screenplay (with an accent on the visual) that examines the issues of racism and homophobia with integrity and wisdom instead of making flippant judgments like so many inferior films have done. (Watch for the visual of a voice pattern/water connection. You'll know it when you see it.) And last but not least, there's a central metaphor so simple it's able to sneak up on you in the last few minutes of the film and clobber you.
So what if Ashkenazi's occasional knowing looks (and I do mean occasional) make him look as if he graduated from Pierce Brosnan's School Of Spy Acting. And who cares if the music is a little heavy-handed at times, making you feel as if you're watching a television series instead of a feature. These reservations are nothing compared to the deep, wide ocean that is Walk On Water.
Am I getting too excited? Maybe. But I'm a writer, and Walk On Water is about narrative bravery. Some of the choices are astounding. But like I said, I won't give much away. Take your hard-earned cash and go see Walk On Water. You won't regret it. (Capri)