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Moria Akons and Amit Ulman in The City (2023)

Amit Ulman

Moria Akons

Omer Havron

In a dark city, in a fictional world, detective Joe is called upon by Sarah Bennett to help investigate the murder of her sister.

The City

an Israeli film noir / rap opera

&apos;The City&apos; (the Hebrew title better translates into &apos;This City&apos;) has a good chance of being one of the hits of the summer film season in Israel. The film is written and directed by debutant filmmaker Amit Ulman, and was made on a modest budget provided by funds that encourage young cinema and supplemented by donations raised from the public via the Internet. The starting point is a rap musical show that gained niche popularity at a small avant-garde theater in Jerusalem. However, nothing lets you guess the emotions of the debutante. &apos;The City&apos; is an interesting, original, beautifully shot, well acted and expressively sung film that captivates its viewers from the first scene and keeps them attentive and connected to what is happening on the screen until the last scene inserted at the end of the credits roll. It is an original and different film from anything made in Israel before, a film that opens up Israeli cinema to a non-conventional musical and cinematic genre and to its young audience.

&apos;This city&apos; can be present-day Tel Aviv, or an American metropolis from 1940s gangster movies, or a combination of the two. The plot is inspired by the novels of Raymond Chandler. Joe, a private detective, is hired by a beautiful and mysterious cabaret singer named Sarah to find her missing sister. The investigation turns after a few hours into a murder investigation after the sister&apos;s body is discovered in the north of the city. Are the city&apos;s chief cop (incorruptible or corrupt?) and Menashe - the boss of the mob - also interested in the investigation, or perhaps more interested in keeping the truth out of the light? Joe, in love with Sarah, continues the investigation despite warnings, threats and the murder of his assistant. But Sarah also disappears and no one seems to have heard from her. Was the woman just a figment of his imagination? Accused of murder, how will he manage to get out of the mess?

The film is surprisingly well executed and the unusual mix of genres works well. The cinematography signed by Misha Pletinsky creates an atmosphere that rivals Frank Miller, Robert Rodriguez and Quentin Tarantino&apos;s &apos;Sin City&apos;. The script is surprisingly coherent and makes sense in the logic of films of the genre. Amit Ulman who also plays and sings the title role is excellent and among his partners excels Alon Neuman, an extremely talented and popular stage actor who has had fewer opportunities to play consistent roles on screen, and who here proves that he deserves more leading roles. Moria Akons as Sarah embodies a femme fatale descended from similar characters in classic noir films. Hip-hop music is not my favorite genre, but it fits perfectly with the Jacques Demy type of singing film. Some famous names in the Israeli rap scene appear on the credits, and their performances prove once again that there are no good and bad music genres, only good music and bad music. The music in &apos;The City&apos; is good. From an interview with the director, I learned that an English version of the film is being prepared, targeting the international market. I think it&apos;s an excellent idea, and I hope the translators find equivalents at least as sparkling to the many puns and linguistic jokes in the Hebrew version. &apos;The City / HaYir HaZot&apos; deserves international distribution and success in tune with the originality and talent invested in this film.

'The City' (the Hebrew title better translates into 'This City') has a good chance of being one of the hits of the summer film season in Israel. The film is written and directed by debutant filmmaker Amit Ulman, and was made on a modest budget provided by funds that encourage young cinema and supplemented by donations raised from the public via the Internet. The starting point is a rap musical show that gained niche popularity at a small avant-garde theater in Jerusalem. However, nothing lets you guess the emotions of the debutante. 'The City' is an interesting, original, beautifully shot, well acted and expressively sung film that captivates its viewers from the first scene and keeps them attentive and connected to what is happening on the screen until the last scene inserted at the end of the credits roll. It is an original and different film from anything made in Israel before, a film that opens up Israeli cinema to a non-conventional musical and cinematic genre and to its young audience.

'This city' can be present-day Tel Aviv, or an American metropolis from 1940s gangster movies, or a combination of the two. The plot is inspired by the novels of Raymond Chandler. Joe, a private detective, is hired by a beautiful and mysterious cabaret singer named Sarah to find her missing sister. The investigation turns after a few hours into a murder investigation after the sister's body is discovered in the north of the city. Are the city's chief cop (incorruptible or corrupt?) and Menashe - the boss of the mob - also interested in the investigation, or perhaps more interested in keeping the truth out of the light? Joe, in love with Sarah, continues the investigation despite warnings, threats and the murder of his assistant. But Sarah also disappears and no one seems to have heard from her. Was the woman just a figment of his imagination? Accused of murder, how will he manage to get out of the mess?

The film is surprisingly well executed and the unusual mix of genres works well. The cinematography signed by Misha Pletinsky creates an atmosphere that rivals Frank Miller, Robert Rodriguez and Quentin Tarantino's 'Sin City'. The script is surprisingly coherent and makes sense in the logic of films of the genre. Amit Ulman who also plays and sings the title role is excellent and among his partners excels Alon Neuman, an extremely talented and popular stage actor who has had fewer opportunities to play consistent roles on screen, and who here proves that he deserves more leading roles. Moria Akons as Sarah embodies a femme fatale descended from similar characters in classic noir films. Hip-hop music is not my favorite genre, but it fits perfectly with the Jacques Demy type of singing film. Some famous names in the Israeli rap scene appear on the credits, and their performances prove once again that there are no good and bad music genres, only good music and bad music. The music in 'The City' is good. From an interview with the director, I learned that an English version of the film is being prepared, targeting the international market. I think it's an excellent idea, and I hope the translators find equivalents at least as sparkling to the many puns and linguistic jokes in the Hebrew version. 'The City / HaYir HaZot' deserves international distribution and success in tune with the originality and talent invested in this film.

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