We Will Dance Again

We-Will-Dance-Again
We Will Dance Again

We Will Dance Again The memories of the Oct. 7 attacks on Israel are a thing of the past for most. Even though Hamas militants stormed the location waving AK-47s, only a few managed to capture the disturbing footage of the site getting raided, masses being murdered, and people getting abducted. Most footage that was of that appalling act showcased CNN’s reporting, but even those were very short. For specific reasons, the footage of such events shown to the public last year was very limited. This included recordings of people attending the Nova Music Festival, CCTV footage of roadside shelters, and dashcam videos that end as soon as the music is playing and over four hundred people are dead or captured.

We Will Dance Again is scheduled to be released on Paramount on September 24 with director Yariv Mozer depicting a story told through the perspectives of the victims on the 7th of October 2022 as 3500 participants of an open-air music festival in Negev recruited amid a night enjoying drugs, dance, and trance music, came out to the sky filled with rockets. Mozer managed to secure footage taken by phones of the festival participants as they ran away from what was to become a shooting gallery, accompanied by a mid-point twist of extras some Palestinian terrorist scum giddily filmed the assault with GoPro cameras attached to their bodies. He used this footage to produce the most remarkable film images from both sides of the nightmare being waged against each other in the conflict that is still raging.

The dramatic focus of the film shifts to surviving Nova students in their early twenties. Mozer treats this section as a fast-paced roller-coaster ride thriller and incorporates their interviews to source their fear, pain, and false hope for the future. During the film’s screening at a Manhattan Temple on Thursday, Mozer discussed his rationale for focusing the narrative of the film around young survivors.

“They are so beautiful, young, young in spirit. A bit naive, perhaps,” said the director to the almost full audience which included The Hollywood Reporter, at The Temple Emanu-El Streicker Cultural Center located on the Upper East Side. “They came with all their innocence to this party for love and peace and freedom. And they faced perhaps the evil that humanity in all of its history has encountered on that day.”

As the viewers see a woman go through the horror of the events, they watch her frantically record on her phone as Hamas militants push their way onto the festival grounds whilst firing their AK-47s they see footage taken by cellphone video, some of which were recorded by festival goers who were on the previous night exposed to acid or ecstasy during the foray others depict a female festivalgoer frantically looking for cover in the hopes of saving so many other people she could see once as they were struck by shots in the distance then after a traffic jam, which turned into a slaughter of targets for the Hamas extremists, the cameras caught many corpses that lay on the ground.

On the day, Hamas footage from that day in the eyes of the world showed Louk resting unconscious on a truck, and later on October 31, it was reported that she was dead with a bone fragment from her skull reported missing. Successive footage from a close circuit television goes on to show the action-packed scenes during the period when a brave Aner Shapira pulled off seven grenade Hamas explosives from a fallout shelter full of frightened people attending the festival. He was later on, tragically killed as one of the grenades exploded, removing Hersh Goldberg-Polin’s lower arm he was an American-Israeli who was afterward taken captive and brought to Israel in August when the Israeli Defense Forces located his remains. Shortly after, his parents called for him in Chicago during the Democratic National Convention.

Words would never be able to describe Goldberg-Polin and his parent’s pain in seeking his release in the 11 long and grueling months he was held as a prisoner in the Gazan region. Those who see through these images of loss, and extreme courage, many from films directed by Mozer suffer through numerous, almost unbearably horrifying, and incredible moments of courage. His theme constructs a disconnect between the audience and the subjects. The narrative expresses the reason why these young Israelis experienced a range of emotions including trauma, disproportionate anger and so much more, when returning from their deserted traumatizing areas to a more welcoming net.

On a humorous note, the audience eyed in glee at a festival-goer explaining to an interviewer at ‘I Take Drugs’ that he did it at the festival in order not to be scolded by his mom, but what catches the focus again is how almost every other survivor hates to think of their mother witnessing their various forms hanging from trees on the Telegram as they have been skinned.

The documentary intends to point out some positive aspects in the face of all these deaths and broken families, as the title promises, but this is a hard sell for him while trying to end the film after everything is shown. But if the film’s audience is likely to be left with deep sorrow or unreasoning fury, it could be due to the fact that some crucial aspects remain unaddressed in We Will Dance Again. It is evident in the historical accounts done by the film that such a long time of six hours elapsed before the IDF would come to respond as they were made mute by the young callers who were running from Hamas bullets and seated in bins and bushes trying to find cover. Mozer chooses not to move to this context, or the unwillingness of Israel to hold an inquiry into the delay.

Mozer attempted to explain the two-hour wait for the rescue teams by invoking the challenge of gathering young fighters “scattered all over the country” on a Shabbat. Israel, he pointed out, was not in danger during the weekend. A few more questions were posed, “we are still looking for responses.” During the New York screening, he expressed his bafflement as to how any director collaborating with him could manage to fit any of the radical Hamas footage within the “insane scene shooting” Mozer portrayed at the moment Kibbutz Be’eri was being attacked. His film, which is a testimony to pure evil, should provide support for that cause for the sake of its subjects.

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