Category Archives: Jewish and Gay— Movies

“DEAR FREDDY”— A Heroic Gay Jewish Sportsman Who Ended Up in Auschwitz


A Heroic Gay Jewish Sportsman Who Ended Up in Auschwitz

Amos Lassen

Rubi Gat’s powerful documentary, “Dear Freddy” tells the life of Freddy Hirsch who was born in Germany but lived in Prague before World War II as an openly gay male.

We can understand how rare that was. He was a sportsman who promoted sport and remained active even when the Nazis tried to exclude Jews from any sporting facilities. He was also a spokesperson who fearlessly negotiated with the SS at Theresienstadt ghetto, when he was moved to Auschwitz and where he set up a day-care centre for 600 children. Through rare photographs, archive footage and witness testimony, we get an extraordinary story and a celebration of a heroic figure that died fighting for the betterment of others.

“THE PRINCE AND THE DYBBUK”— Hollywood Filmmaker and Human Chameleon


Hollywood Filmmaker and Human Chameleon

Amos Lassen

Moshe Walks is a mystery; was he a golden boy of cinema, a fraud or a man who constantly confused illusion with reality? He was the son of a poor Jewish blacksmith from Ukraine yet he died in Italy as Prince Michael Waszynski, Hollywood producer and exiled Polish aristocrat. He made more than 50 films including cinema hits with Sophia Loren and Claudia Cardinale but only one film was his true obsession and that was “The Dybbuk”. “The Dybbuk” was based on an old Jewish legend and the film about it became the most important and mystical Yiddish film ever made. It was directed by Waszynski shortly before the outbreak of the WWII.

Waszynski had once claimed to be fascinated with the downfall of great nations and he related imagery of pogroms and migration to this. He seemed to have achieved almost everything he could possibly have wished, but something seemed to be stalking him, making him in permanently restless. He kept searching for the lost print of his film “Dybbuk” which held his early memories of the Jewish shtetl and his first love. Obviously he had hidden secrets in this masterpiece of Yiddish cinema.

At some point in our lives all of us want to be something that we are not but we are seldom successful in doing so. Mike Waszyński, however, seemed to manage to do so. He was a Jew, a Pole in Warsaw and finally a Prince in the elite circles of Europe. How was he able top pay the price for that and how did he divest himself of his roots? During the time he lived, he could not have been himself so when reality became unbearable, he began to live inside his own imagination. With the help of cinema he was perfectly successful in doing so. He became a unique filmmaker, who not only created monumental films, but also made his own life a masterpiece of masquerade.

As I stated earlier, he was obsessed with his film. “The Dybbuk” or “‘Between Two Worlds”, that he directed in 1937. The film is based on an old Jewish legend in which a young woman is haunted by the spirit (“dybbuk” in Yiddish) of her first love.” It is one of the most important and mystical Yiddish films ever made, ‘The Dybbuk’ also mirrors Waszyński’s personal life as a restless man with many secrets (including his homosexuality) and untold stories.

“FALSETTOS”— Live from Lincoln Center


Live From Lincoln Center

Amos Lassen

William Finn’s “Falsettos” is the story of Marvin who leaves his wife and young son to be with another man named Whizzer. Marvin fantasized that they can all be one happy family but his dream is shattered when he is diagnosed with AIDS. Set in 1992, an AIDS diagnosis was a death sentence and it was a time when violence against gay men and lesbian women was rabid in certain precincts. This is a story that touches every one deeply and although it starts out on a happy note, it ends on a very sad one.

The musical was originally produced in separate installments which would eventually make up the first and second acts of the combined show: “March of the Falsettos” at the very beginning of the AIDS crisis when Marvin has left his wife, Trina, for a man, Whizzer. This left Jason, his son, confused and moody. The second act, “Falsettoland”, was originally produced in 1990, and the pall that AIDS had cast over the intervening decade in the background. The characters and their sense of family now face devastating reality.

We sense the weight of the history of the gay community, of New York City, of the American sense of family and individuality as the musical moves forward. The tragedies of the second act hit us hard since we had already fallen in love with the characters in Act 1. When we consider how selfish and neurotic and self-obsessed the characters are, we wonder where this love comes from. Yet there’s a charm to everyone from Trina holding onto her sanity to Marvin and Whizzer’s combative yet deeply sexy chemistry.

The original production won Finn two Tony Awards, for Best Original Score, and Best Book of a Musical. This production has a wonderful cast that includes two-time Tony winner Christian Borle as Marvin; Stephanie J. Block as Trina; Andrew Rannells as Whizzer; Brandon Uranowitz as Mendel, the shrink who Trina later marries. All four received Tony nominations. Yes, there are many clichés here but we still laugh and cry all the way through.

“MONTANA”— Coming Home


Coming Home

Amos Lassen

Efi, (Noa Biron), a young woman returns to her hometown in Israel after the death of her grandfather and she begins an affair with a married teacher in the debut feature from Israeli filmmaker Limor Shmila looks at how Efi confront secrets of her past when she returns the town of her youth.

Efi returns to her hometown of Acre and immediately gets involved in the problems of various people from her past. Shmila uses a low-key, deliberate sensibility that we see in the keenly reflected in the uneventful narrative of Efi’s subdued exploits in and around her small-town environment. After discovering an illicit affair, Efi falls in love with a married woman. Efi is a mysterious and conflicted character but her exploits really do not deliver any great shocks yet the film is interesting in its different view of Israel.

“A QUEER COUNTRY”—- Israel from the LGBT Perspective

“A Queer Country”

Israel from the LGBT Perspective

Amos Lassen

I spent many years of my life living in Israel and can vouch that it is a complicated country to say the least and I am actually surprised that I stayed there as long as I did. I arrived in Israel long before gay liberation and along with many of my gay friends, lived a closeted life. We did set up the first gay liberation organization and I do not think that any of us thought it would get to where it is today. There is no such thing as pinkwashing in Israel and I am emphatic on that. Looking at Israel from the outside, it’s difficult not to see the divisions and conflicts; especially the secular versus conservative religion. Yet nowadays and against that backdrop, Tel Aviv holds one of the biggest gay pride parades on the planet.

British filmmaker Lisa Morgenthau’s documentary, “A Queer Country” looks at Israel from an LGBT perspective. We meet some of the more interesting and thought-provoking issues queer people in Israel face. The film contrasts the largely secular and open Tel Aviv with the more staid and religious Jerusalem, where gay issues are far more political and difference less tolerated.

We meet those who’ve faced difficulties due to the fact Ultra-Orthodox Jewish communities rarely accept LGBT people, and who have therefore had to find new ways to hold on to their beliefs outside of the world they were once part of. The film also addresses the accusations of pinkwashing that have been leveled against Israel. This is the allegation that the Foreign Ministry has promoted Israel’s acceptance of LGBT people to try and deflect criticism from allegations of human rights abuses against Palestinians.

We hear from a variety of people who show that things are often far more complicated than they first appear. With pinkwashing, we face whether it is a cynical attempt to gloss over the fact that not all minorities enjoy the benefits LGBT people do, or is it a legitimate way of promoting a nation that often finds it difficult to get positive stories on the international stage? I believe it is neither and does not exist.

In the early part of the film many participants talk about how Tel Aviv is a gay haven yet it was also the scene of a 2009 shooting at a gay centre that killed two and injured 15 others, while in 2015 Jerusalem Pride saw a fatal stabbing by an Ultra-Orthodox Jew angry the city had allowed the celebration. Some of the most interesting parts of the film are when it looks at the dichotomy of a country set up to be a secular, plural society, but where that plurality means they have to try and find ways for some very different and sometimes extreme views to live alongside one another.

“A Queer Country” does not come to conclusions. It presents a variety of thoughts and opinions. However, there is nothing about LGBT Arabs in Israel, as while the movie engages with the Israeli-Palestinian conflict and how that relates to LGBT people, it does so almost exclusively from one side of the issue. This means that some people, perhaps unfairly, will find the film is to be one-sided. Nonetheless, the film does a good job of including a diverse array of interviewees from within the Israeli Jewish community. We hear from a strict orthodox psychologist who thinks that everything that is gay is wrong. We also hear from gay Jews who are conflicted about their status compared to Palestinians, to a trans man and his family on a kibbutz where they’re trying to live their lives in a way that they feel honors God, although there are others who might disagree.

The one theme that comes up over and over is that of people trying to find synthesis between being gay and Jewish, something many people, and perhaps Israel as a nation, is still trying to deal with. This is an issue that seems to go beyond just LGBT issues, such as when one person talks about the fact religious bodies have complete control over marriage in the country and we understand that it’s not just gay people who can’t marry but also many of those who fall in love with people outside of Judaism.

The film helps puts context on issues that are often presented in rather one-dimensional ways. It shows that, as is so often is the way, things are more complex than they first appear, and that while Israel may be the most gay-friendly country in the Middle-East, LGBT people still face difficulties that are both relatable and very specific to living there, and that even within Israel there is division about how their status relates to other groups.



“The Cakemaker”

A Metaphor

Amos Lassen

“The Cakemaker” is “a metaphor for the way the world views changing relationships and mores.” The film begins as a gay love story between Thomas (Tim Kalkhof), a young German pastry chef and cafe owner and Oren (Roy Miller), an Israeli businessman who drops by during his work-related visits to Berlin. The two men have built a friendship but at the end of each trip Oren returns to his wife and son in Jerusalem. When the young man finds out, after a long and worrying absence, that his lover has been killed in a car accident he decides to deal with his grief by going to Jerusalem to find out more about his relatively casual acquaintance.

He discovers the cafe owned by the man’s wife Anat (Sarah Adler) and gets into conversation and eventually lands himself a job and an apartment. Neither knows of the mutual connection yet both are trying to come to terms with Oren’s death. Since Thomas is non-Jewish and a German, he represents an awkward presence among the Orthodox locals – but his cakes do great business and he and Anat develop a friendly relationship.

The film explores the nature of love and how it is dealt with by characters across the divides.It starts off by dealing with the difficult subject of bereavement through the story of a man and woman both grieving the death of the same lover. Death and sexuality are handled in an understanding and subtle way by director Ofir Raul Grazier, with bereavement and love depicted in a manner of forms and always in a non-judgmental way. Love is shown as existing between two men, a husband and wife, a mother and child – and none is seen as purer or more important than another. Each transcends culture, religion and gender seamlessly. The performances are as understated and delicate throughout this beautifully fragile film. Tomas’ words are few as he finds himself in an unknown territory where he has to get to grips with Jewish traditions such as kosher cooking and Shabbat.

As he befriends his lover’s widow and son, and then begins to bake his famous cakes and biscuits, he begins to gain confidence and truly grieve his lost love. It is interesting that everyone seems unaware that this new visitor ever knew Oren, that is except for Oren’s mother, who seems to know a lot more than she ever lets on.

This is a delicate film that perfectly encapsulates love in its many forms at a time when both religion and LGBT rights are in constant discussion in the press and personal lives. The film manages to transcend all boundaries. When the film works best is in its ambiguities.  Does Tomas return Anat’s advances because he was always bisexual and is actually attracted to her, or is he gay but somehow wants to feel close to his ex-lover?  How much does Oren’s mother know about the men’s relationship? How will Anat and Thomas’ relationship resolve itself.  There are no clear-cut answers.

In an official statement, Graizer has said that this is his story; a story of characters that wish to put aside their definitions of nationality, sexuality and religion. “it is a story full of love for people, life, food and cinema.” The story moves between Berlin and Jerusalem, between east and west, between past and present. In this journey Thomas, who goes to find a cure for a private loss, encounters an inner-Israeli conflict of religion and secularism. “The subject of Kosher, the importance of Shabbat (Saturday), the place of tradition in secular society become a barrier in Thomas’s way to absolution, leads him to doubt every aspect of his own being, and provides him with a different perspective of his love memories.”

There is a sense of yearning and melancholy in every frame of “The Cakemaker” as it explores the struggles of mourning from two initially contrasting, yet intertwined perspectives: a married Israeli man’s secret Berlin-based lover, and that of his wife and the mother of his son, who owns a cafe in Jerusalem. Under this nuanced dual character study is a look at traditions and the divisions they inspire, be they national, sexual or religious. Graizer moves quickly through the abridged, clandestine romance of Thomas and Oren in a matter-of-fact manner, they meet;, a year later, they’re cozy and periodically cohabitating and their faces are filled with emotion. They’re close and comfortable, despite Oren’s other life back home and Thomas’ clear wish for something more permanent.

A spate of unreturned voicemail messages and an awkward trip to Oren’s Berlin office later, Thomas is bereaved learning that Oren was been killed in a car accident. Thomas travels to Jerusalem like a sad and lost puppy; he visits the cafe owned by Anat, asks for work. When she eventually gives him a job as a dishwasher, a new connection begins but this time, Graizer is in no hurry, keeping his focus intimate but happily giving his characters room to cope with their common source of sorrow, and to learn to trust and find solace in each other.

Of course, even when Thomas eventually, inevitably begins to bake and thus improve the cafe’s fortunes, much still conspires against their friendship, as well as the possibility of something more. Anat’s brother-in-law (Zohar Strauss) delivers stern reprimands about jeopardizing the café’s kosher status and Thomas’ unmentioned history with Oren lingers in the air.

Unspoken truths and realizations simmer for as long as possible. Graizer lets his protagonists’ actions and choices subvert the norm: charting a man’s pain for the relationship he can never talk about, embracing a German in a Jewish kitchen despite warnings to the contrary, and watching a bond bloom between two people who shared the same lover.

Our two main characters are as different as they are similar yet slowly move closer together. The film works a complex range of social and religious tensions into its tender narrative, without ever feeling sanctimonious. It is an unusual story of same-sex romance that acknowledges the fluidity of sexuality and desire, particularly with regard to emotional need with love taking a variety of shapes here, none more pure than any other.

“TIKKUN”— An Atmospheric Netherworld


“An Atmospheric Netherworld”

Amos Lassen

The Hebrew word “tikkun” has many definitions and connotations. Its main use seems to embody the idea of rectification and is usually used in reference to personal and spiritual improvement or the desire to want to fix the world. There is also a religious meaning— a book of text from the Torah used for learning Jewish scripture and recitation on certain holidays is also known as a tikkun and it contains the writings of the Five Books of Moses but with vowels (unlike the Torah scroll) and is a good practice text for those who chant Torah directly from the scroll itself.

Avishai Sivan’s movie “Tikkun” plays with all of the meanings of this fundamental Jewish concept. The film is a modern religious parable set that is set within Jerusalem’s Hasidic community. It probes the rituals and taboos of this and as it does, it explores the intersection of faith, filial duty, and civic responsibility in contemporary Israel.

We see that an ultra-orthodox scholar is revived after being dead for 40 minutes. After coming back to life, he suddenly feels a strange awakening in his body and suspects that God is testing him. This is the story of a young orthodox Jewish man, Haim-Aharon (Aharon Traitel) who slowly loses his faith after a near-death experience. Shot in pristine black and white and with impressionistic visuals, director Sivan gives us Jerusalem at nighttime (reminiscent of David Lynch) –as a netherworld, shrouded in fog, where past and present exist side by side. The becomes a hallucinatory tale of urban alienation much like the films of Michelangelo Antonioni.

Haim-Aaron is a devout Yeshiva student who we see praying and fasting in the beginning. He is a quiet type who keeps things to himself. His father (Kalifa Natour) is a hard working kosher butcher. Bad plumbing in their cramped apartment causes Haim-Aaron to fall and suffer cardiac arrest while taking a shower and touching himself. EMTs arrive but are unable to resuscitate him and he is pronounced dead 40 minutes later. His father, however, is unable to let his first son go, continues on the CPR, and to everyone’s surprise, revives him.

This near-death experience is a both a blessing and a curse for father and son. The father struggles with the guilt of undoing god’s will by reviving his son. He falls into deep self-doubt and is shunned by many of his ultra orthodox community members.


For Haim-Aaron, being undead affords him a freedom to venture out of his community and confront his earthly desires for the first time in his life.  Unable to sleep, hewanders the streets at night, hitching rides to anywhere that strangers will take him. Outside his immediate surroundings, he is in a completely different world: Jerusalem, a cosmopolitan city with just under a million inhabitants, is a wondrous and scary place for him and he meets many strange people and has a sexual encounter with a prostitute. These activities put a strain on his studies, family and community.

This is an unsettling film and this is accentuated by Haim-Aaron’s father’s recurring  nightmares ofevil crocodiles in the toilet, putting a knife to the back of his son and dumping the body in a monster-infested ravine. Urban alienation and repressed sexuality figure prominently in the film and it unveils the ultra-orthodox Jewish community, which is seldom portrayed on film. This is not a flattering picture of a community that seems to be permanently stuck in the past.

Director Sivan and cinematographer Shai Goldman give us a Jerusalem that has the feel of a lonely, industrial town. With sparse dialog and strong visuals makes Tikkun an intense and moody film. The film feels like an ethnographic film movie shot by someone from the community it documents, managing simultaneously to keep a critical distance from the material while maintaining a certain credulity and wonder toward the proceedings. The world of Israel’s ultra-Orthodox is portrayed with empathy and insight, but some of the community’s cultural practices are called into question.

“Tikkun” is in part a lucid account of the bewilderment that the absence of a candid sexual education for members of young ultra-Orthodox Jewish community. It captures the perverse fascination provoked in this community by this taboo as the camera lingers on both male and female genitalia in graphic, almost scientific detail. Haim-Aaron is perplexed by his own erect penis, which he inspects with curiosity right before his near-death experience. This explicit link between sexuality and death is reemphasized later when he studies the genitalia of a recently deceased young woman. In a literal sense, these scenes are a commentary on the awkwardness of puberty and pre-marital sexuality in this community. There is no discussion of the body or desires and sets limits between the sexes. Instead of simply condemning the social practices of this insular community, Sivan shows us how mysterious the world must appear to one of its members. Haim-Aaron’s explorations of the body inevitably result in calamity, as if God were punishing him for his sins. He endures his transgressions of the community’s taboos by self-castigation. Having so firmly internalized God’s laws and what he perceives to be His commands, Haim-Aaron subconsciously wills this punishment, thereby physically manifesting God’s presence in the world. We are never sure if Haim-Aaron is simply mental, a pious man or some combination of the two. It is this ambiguity that makes it difficult to characterize the film as just a secular critique of a religious mindset.

Sivan captures a world where the miraculous and the mundane are separated by a blurred edge. Haim-Aaron’s father is a kosher butcher, and we see him inspecting ritually slaughtered animals with the same solemn curiosity with which his son inspects human genitalia. The father kills in accordance with God’s commandments, humanely and forever on the lookout for God’s approval. Haim-Aaron’s siblings treat bugs with the same profane reverence, carefully observing them before squashing them. These ongoing scenes of commingled investigation and slaughter emphasize the fine line between life and death in this world and we see that God is always silently present in the guise of human action.

One could read “Tikkun” as a commentary on the price of culturally ordained sexual repression, an idea that several startling instances of full-frontal nudity make difficult to dismiss. But there is so much potent ambiguity that such a straightforward interpretation does not fully work. I have no doubt that there will be many who will not find themselves charmed by this film while others will feel that it is a total experience. The fact that it has been winning prizes attests to that.

“Poets of the Bible: From Solomon’s Song of Songs to John’s Revelation” by WillisBarnstone— Restoring Lyricism and Power

Barnstone, Willis (translator). “Poets of the Bible: From Solomon’s Song of Songs to John’s Revelation”, W.W. Norton, 2017.

Restoring Lyricism and Power

Amos Lassen

Every time I pick up my bible, I am astounded how it always reads differently and how I am transported to many places and events by its magical language. Because so much of the bible comes to us in prose form, we seem to forget that some of the greatest poetry in the world is in the holy writings. Willis Barnstone does not want to let that continue and he goes back to both the Hebrew Bible and the Christian Bible and restores the lyricism that we lost in the prose translations thus showing us the power of poetry in the texts that are centuries old.

In the Hebrew Bible, we have new translations of Song of Songs, Psalms, Job and Isaiah. The Christian Bible’s poetry is in the speeches of Jesus speaks, Paul and John of Patmos. roars majestically in Revelation, the Bible’s epic poem. Barnstone’s book contains major biblical poem from Genesis and Adam and Eve in the Garden to the last pages of Alpha and Omega in Paradise.

While reading these passages in poetic form we discover new lyricism, clarity and even mystery. The sheer beauty of the word astounds the ear and the mind and I found that at times I was reading passages that were brand new and I love that.

Barnstone has brought scripture to new dimensions by taking away translations into prose and rendered them into poetic form in which humanity takes over. There is no more need for literalist translations.

These new translations from the Hebrew and the Greek bring new language and meanings to passages we have read since childhood. Additional Barnstone provides introductions to each poet that are also new in that the author’s research brought him to learn about those who wrote these passages initially.

“Willis Barnstone shows us the religion in poetry and the poetry in religion, and, best of all, how poetry flows from one religion to another.

”The Best Minds of My Generation: A Literary History of the Beats” by Allen Ginsberg— The Creation of a Course

Ginsberg, Allen. ”The Best Minds of My Generation: A Literary History of the Beats”, Grove Press, 2017.

The Creation of a Course

Amos Lassen

In 1977 some twenty years after he published his landmark poem “Howl,” and Jack Kerouac’s book “On the Road” hit the stores, Allen Ginsberg decided it was time to teach a course on the literary history of the Beat Generation. After creating the course, he taught it five times and through it he was given the chance to present the history of Beat Literature in his own way. Now compiled and edited by Beat scholar Bill Morgan, and with an introduction by Anne Waldman, “The Best Minds of My Generation” gives us edited lectures with their notes. We also get a look at the Beats as Ginsberg knew them as friends, confidantes, literary mentors, and fellow revolutionaries.

Ginsberg was responsible to the creation of a public perception of Beat writers and he knew all of the major figures personally. This made him uniquely qualified to be the historian of the movement. In this book, he shares stories of meeting Kerouac, Burroughs, and other writers for the first time and he explains his own way the importance of music to Beat writing. He discusses visual influences and the cut-up method, and introduces us to the group who led a literary revolution. This is a personal and critical look at one of the most important literary movements of the twentieth century.

Like many liberal arts courses getting to the end of the information that needs to be presented in the time allowed for the class rarely happens. The overwhelming amount of information is a limiting factor and different areas tend to be given more attention than others. By putting the course into book format, the information is preserved in detail and the reader is free to take in the information in any order..

Ginsberg insists that it was Kerouac who led the Beats and he is given the biggest section of the book. Ginsberg analyzes several books and gives first-hand information on Kerouac’s life and writing experience. Most of Kerouac’s books are at least semi-autobiographical and Ginsberg gives the behind scene look. William S. Burroughs is covered next and part of this section are Burroughs letters to Ginsberg while he was in South America. Ginsberg explains Burroughs cut-up style including the theory behind it. The idea is that we are presented with information in such a way to hide the real message. The cut-up reveals the true method. The idea was that you could take a speech, cut it up, rearrange the pieces, and find the true meaning.

William Carlos Williams had a great influence on Ginsberg and is praised throughout the book, Gregory Corso, Hubert Huncke, John Clellon Holmes, Carl Solomon, Peter Orlovsky, and of course Neal Cassady all have small sections of the book. Ginsberg does include himself and it is informative and very humble. As the central figure and historian of Beats, Ginsberg plays the role of the narrator rather than a major player. The introduction is by Anne Waldman poet and a member of the Outrider experimental poetry community and she provides and excellent introduction. “The Best Minds of My Generation” provides a detailed examination of the beat movement and its members. Small chapters with descriptive titles let the reader pick and choose their interests if they do not want to read the book cover to cover.

It is fascinating to read Ginsberg explaining his own development as a writer. We so often read about his literary influences and it is here that he gives concrete examples of the importance of William Carlos Williams throughout the book, and later of Christopher Smart. His description of his own transition from polished poems in a classical style to “Howl” is wonderful. So many critics seem to think of the Beat writers as wild, unrestrained, or even untalented artists but what we see here is that their mastery is quite clear. Ginsberg chose to use a particular piece of work and take it apart to explain why it works. He picks works from across each writer’s career to show development and change, and he sets it all within the literary historical framework, showing where each piece of work originated. This is what makes the book more than not just a valuable reference book for scholars. It is, in fact, a very readable text.


“Family Commitments” (“Familie verpflichtet”)

A Comedy Farce

Amos Lassen

David (Maximillian von Pufendorf) and Khaled (Omar El-Saeidi)are a happy gay couple who want to get married to each other in a public wedding ceremony. There are t problems— Aledressi (Ramin Yazdani), Khaled’s homophobic father and David’s pseudo orthodox Jewish acting mother Lea (Maren Kroyman) as well as a possible paternity and gallery insolvency.

While it may not yet sound like it, this is a classic comedy farce. The characters are totally exaggerated, everyone is lying to everyone else. David is flamboyant, obviously gay, and Jewish. Khaled isn’t flamboyant, isn’t obviously gay, and isn’t Jewish. He is a quiet gym teacher who has to pass his final exam in order to become certified. He loves David as much as David loves him, but he can’t come out because of his father.

While Aledressi may be homophobic, but he isn’t anti-Semitic. He reminds us that Jews have lived together peacefully with Muslims for centuries. David’s mother isn’t homophobic, but she’s prejudiced against Muslims.

There is a very large a huge supporting cast, including Khaled’s heterosexual female principal, Khaled’s hostile aunt, and a blocked artist living in the attic of David’s art gallery. There’s also Sarah (Franziska Brandmeier) a young Jewish art student who is pregnant with David’s child. This is a fun movie that requires nothing but a good mood—one you will surely have after the film is over.