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Dans « Yes », un cinéaste israélien accuse Israël de brutalité auto-satisfaite
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Nadav Lapid’s furiously satirical drama, about a musician’s willful complicity in a war he reviles, tells a vast story of personal and national degradation
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The New Yorker (United States) | Mar 27, 2026
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Critics argue that Lapid's portrayal of Israel borders on propaganda, overshadowing the complexity of the conflict and risking further polarization.
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While Lapid raises important issues, some believe his perspective lacks nuance and fails to account for the broader context of the conflict.
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Nadav Lapid's film effectively exposes the moral complicity of individuals in systemic violence, prompting necessary conversations about personal responsibility in wartime.
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The film serves as a mirror, reflecting both personal and national degradation, allowing audiences to grapple with uncomfortable truths about war and identity.
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Lapid's satirical approach provides a vital critique of self-satisfied brutality, challenging viewers to reconsider their roles in perpetuating violence.
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