Written & Directed by: Nurit KedarProduced by: David MandilSponsors: Channel 10-Israel
Chronicle of a Kidnap is a poignant example of what a gifted and meticulous director can do when called upon to do justice to extremely difficult content. What might have wound up feeling dry or overwhelming has just the right touch, taking us into a devastating milieu with frank, genuine wisdom and understanding of the impact of the catastrophic. For the entire review by Christopher Soden/EDGE, July 27, 2009, check: http://www.edgesanfrancisco.com/index.php?ch=entertainment&sc=movies&sc2=&sc3=features&id=93354
"Chronicle of a Kidnap" is stunningly made, and tells us much we did not know about the event itself and the devastating emotional aftermath.
For the entire review by Don Perlgut, check: http://donperlgut.wordpress.com/2009/08/20/aice-israeli-film-festival-sydney-and-melbourne
The capture of Ehud Goldwasser and Eldad Regev on 12th July 2006 sparked the 34-day conflict known as the 2006 Israel-Hezbollah War. Goldwasser's wife Karnit and her two-year campaign to find information about her missing husband is the focus of this short documentary that at its best is quite moving and insightful, but suffers from bizarre editing choices and incredibly annoying sound design that substantially reduce the impact of the film.
Chronicles of a Kidnap is at its best when exploring the effect on those who remain of not knowing the fate of their loved one. How should one react? What demands can a citizen make of her government? And what can the response of a responsible government be? When is it long enough and time to 'let go'? In eloquent vignettes, Karnit Goldwasser and her family and acquaintances describe the effect of living with such unknowns, forming an overall narrative that demonstrates significant insight.
For the entire review in Hoopla, Australia, please check: http://hoopla.nu/films/shvuia/chronicle-of-a-kidnap.html
Chronicle of a Kidnap ends with a knock at the door. Karnit Goldwasser speaks about the end of the story, about the mind that works with the possibility of a bad ending, and the possibility of facing it. "To move ahead, or to die with him" – him, being Udi her husband, the kidnapped soldier whose fate is unknown. To die is not only to stop breathing, she explains, but to stop functioning. "The question is what is the end" she says and gets up to open the door. The end. For Karnit Goldwasser each knock at the door could be fateful.
Director Nurit Kedar knows this and closes a powerful film in a strong way. Kedar employs additional voices that can facilitate what it really means to be Karnit Goldwasser. What does it mean to have to market pain, to sell agony, to expose your insides in front of the whole world. What does it mean to sit with world leaders, and with Shimon Peres – in a wisely edited scene where all the words are swallowed up by the music and the eyes say it all.
Karnit Goldwasser's face reflects the deep crisis of the hostages' families, along with their uncompromising determination to turn the world upside down.
Ha'aretz, July, 2008