[ad_1]
"Cakermaker" is not your average slice of the hunky aryan pie with a sweet Israeli pie. It is actually about 80 years of geopolitical atrocities born of the Third Reich moving towards a precarious peace between Germany and Israel. This is a fragile relationship writer-director Ofir Raul Graizer skillfully bends into an ethnic pie involving a gay Berliner and a widowed Israeli – both crying the same lover.
The deceased, Oren (Roy Miller), was made by a sweet tooth that could only be satiated by the decadent chocolate confections concocted by Tomas (Tim Kalkhof), the Berlin pastry chef whom the Israeli regularly visited during his monthly business trips to Germany. Unfortunately for the woman owner of an Oren café, Anat (Sarah Adler, matching her great job in "Foxtrot"), Tomas served more than just the cake to her deceitful husband. Fate (or was it karma?) Rattrape Oren when he is killed in a car accident near his home in Jerusalem, news that fails to reach Tomas more and more worried until he reaches his destination. to weeks later
"Fantastic Woman", Tomas has a key left by Oren. Curious, he goes to Jerusalem to see what he unlocks in his man's locker. It's a bright red Speedo, natch, that Tomas begins to wear with love. One would think it would be that, but Tomas' curiosity draws him in the direction of Anat's cafe, where he offers to lend a helping hand without ever revealing his connection with Oren. You can pretty much guess the rest. The surprise is not the strong garment of Graizer. But he knows how to tell a fascinating story about the cultures that face each other, as fighters learn to forget the past by sharing their interests and their ability to speak English, the language of the nation that has put both countries back on the map. map after the Second World War. . It would be us, of course.
That Graizer does this through the prism of food – glorious food – more than your appetite for an allegory that is both kosher and sweet. I particularly admired his juxtaposition of Tomas' lonely approach to staging a feast with the communal method privileged by the Hebrews. A theme deepened by the irony of Tomas' imaginative creations born in the serene environment of kosher cuisine of Anat, much to the chagrin of his brother-in-law By-the-Torah, Moti (Zohar Shtrauss ), which is more than one "
It's a feeling that's contagious, since you're starting to wonder just how taciturn Tomas is in winning the affections of Anat and his youngest son, Itai (Tamir Ben Yehuda). Could it be that he simply needs to be as close to the spirit of Oren as to the death of his lover? It seems that when we see the unique expression of love on the face of Tomas when he puts on the old clothes of Oren, Anat gives him gifts, unaware that he is there. Man who tore the fabric of his wedding.
Suspicions will grow – with her desires – the more she spends time with Tomas in the intimacy of her scorching kitchen. Your instinct is to faint, but that feeling of shame about Tomas' tacit motives prevents him, until their first kiss. You also find it just a little too convenient that a gay man can be open to suddenly "changing the team." This sounds a bit false, but there is no doubt that Kalkhof and Adler are working hard to sell it.
The film's striking metaphor for two nations born of an indescribable past trying to work together despite the growing cracks badociated with Germany's open door to refugees from the Middle East. As Anat and Tomas, many things go against this relationship, but love – this great healer – might be the right ingredient to bring about a hatred that has long been baked in the cake.
Source link
