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Or (My Treasure) (2005)
Tomatometer
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Reviews Counted:26
Fresh:20
Rotten:6
Average Rating:7/10
Consensus: Prostitution and its effect on a mother-daughter relationship are told in a naturalistic and nonjudgmental style, building to a powerful conclusion.
Runtime: 1 hr 40 mins
Genre: Foreign Films
Synopsis: Keren Yedaya's directorial debut, OR (MY TREASURE), tells of a complex mother-daughter relationship in modern-day Tel-Aviv, Israel. Or (Dana Ivgy) is a 16-year-old girl who does all she can to... Keren Yedaya's directorial debut, OR (MY TREASURE), tells of a complex mother-daughter relationship in modern-day Tel-Aviv, Israel. Or (Dana Ivgy) is a 16-year-old girl who does all she can to support her mother, Ruthie (Ronit Elkabetz), a sick and aging prostitute. The film takes great care in showing the taxing daily routines of Or's life: recycling loose cans, washing dishes in a local restaurant, and going to school when she can. Her ultimate goal is to earn enough money so that her mother never has to walk the streets again. Or even finds a housekeeping job for her mother in hopes that she'll stop turning tricks. It soon becomes clear that Or must assume all of the strains and responsibility of the household to help her poor mother, and thus the traditional roles of parent and child are reversed. Other films might make a character like Ruthie contemptible, but Yedaya does not. Indeed, there are some loving scenes between this mother and daughter who truly need each other. In OR (MY TREASURE), Yedaya achieves a unique look, including a minimal amount of shots per scene, and a gritty, no-frills aesthetic. The result is an unflinching and compelling film that won the Golden Camera for Best First Film at the 2004 Cannes Film Festival. [More]
Starring: Ronit Elkabetz, Dana Ivgy, Meshar Cohen, Katia Zimbris
Starring: Ronit Elkabetz, Dana Ivgy, Meshar Cohen, Katia Zimbris, Shmuel Edelman
Director: Keren Yedaya
Director: Keren Yedaya
Screenwriter: Sari Ezouz, Keren Yedaya
Producer: Marek Rozenbaum, Itai Tamir, Emmanuel Agneray, Jerome Bleitrach
Studio: Kino International
Reviews for Or (My Treasure)
Yedaya is respectful and sensitive of everyone in Or's life and creates a beautiful, complex and rich relationship between mother and daughter...
Detail after detail, Yedaya charts the emotional push-pull between daughter and mother and their internal turmoils.
A worthy downer, marred only by a queasy feel of exploitation in the final frames. In Yedaya's world, nobody gets off easy, including the audience.
Her movie is indeed ambitious and her goals admirable. But sometimes it seems more position paper than cinema.
Yedaya's starkly photographed first feature is as much a social statement as a character study.
A work of exceptional subtlety and is all the more captivating and heart-rending for being so.
Yedaya drowns her characters in realist grit, a colorless screenplay and no score to speak of, rendering this open book of a movie alienating in all the wrong ways.
This movie seems to be meditating on the whys and hows of the spoiling process -- raising more questions than can possibly be answered, and in this sense, at least, far from dogmatic.
The problem is not that the film is depressing or that the characters are doomed, but that it lacks a broader political context to illuminate the problem of prostitution
Ms. Yedaya may have made a subtler and more interesting film about prostitution than she originally intended.
OR observes a moral and psychological distance form its characters that is maddeningly, heartbreakingly irresolute.
Yedaya's stark, rigorously naturalistic style recalls neorealism, but she tells her sad tale without an ounce of the usual sentimentality.
Even as Or joins an escort service and begins to follow in her mother's footsteps, Yedaya holds out hope that the girl will stop trying to rescue Mom and save herself.
Or (My Treasure), a new Israeli movie, is a film about prostitution, but its models aren't other movies. Instead, the details of its heroine's work have the ugliness of real life.
With a cool head and level gaze, Keren Ye-daya's stark first feature attempts a Bressonian trajectory of tragic inevitability.
[Director/writer Keren] Yedaya offers no facile explanations, which may be frustrating to some, but bluntly thought provoking to others.
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