Gett: The Trial of Viviane Amsalem

It's certainly not a slow movie, and yet it is filmed in such a way that you come to feel the impatient desperation of the woman who wants out of a loveless marriage. I was especially glad to find this on Prime, as I had been unable to get a ticket at the Jewish film festival earlier this year in Atlanta. The idea of the Gett, the contract of divorce, is removed from the lives of many contemporary Jews who have moved away from more Orthodox roots. Many are satisfied simply to have a civil decree from the county courthouse (I'm speaking of America, here.) But the complete process, when one has had a Jewish wedding, with a Jewish wedding contract (ketubah), performed by an ordained rabbbi under a canopy (chuppah) and then one wants, or needs, to divorce - includes a gett. I have seen the effects with a personal friend: he had an affair, she wanted a civil divorce AND the gett. And she went through months of emotional upheaval trying to get that document out of her ex, while his mistress gave birth to a child less than nine months after the marriage had taken place. I am a Jew, but if there is some part of my heritage with which I can find fault, it is the humiliating obstacle course that women are put through in trying to obtain a divorce through rabbinical court. This movie is a must-see for anyone, everyone, as an eye--opener into the lives of the religious who are unhappily married, and seek a solution.

Please send me this movie for free. This movie is amazing I'd really love to have it. In blue ray. Even though this movie is in rooms that are painted with walls that are probably egg shell white, it never made me feel in any way claustrophobic, on the contrary it made me expand my mind into thinking how other people think and uh might behave when it comes to certain situations, such as being in love with a woman. A woman with dark hair which is long and nothing seems to be working out with her maybe because she wants more? It really made me think about how things are supposed to go with this agreement called mirage between this woman and this man. People in the middle east are really special and how sensitive he doesn't want to let her go and I understand him. I wouldn't want to let her go either, I would like for her to like me too, she's really talented this actress she is particularly spectacular. In the story I laughed a lot because of the witnesses oh this story is so confusing I have to keep watching it thank you so much.

This film was very well done. Even though there are only two scenes, the courtroom and the waiting room, the viewer is completely immersed in the drama. The acting is excellent and completely realistic: these are dramatic characters we know. As the film progresses, the dynamics of the couple's relationship emerge. These are people who hate each other. The only issue is whether the wife can hurt the husband more by getting the divorce or the husband hurt her more by denying it. The point of the film is that the rabbinic court prolonged the process of divorce, thereby allowing the husband to continue to inflict pain on his wife. The film aims to draw attention to this injustice and to contrast Israeli divorce laws with those of western countries where the woman has more of a say.No doubt, there are cases of abuse, but they are not as widespread as one might suppose from the film. The couple here had been married 30 years. So the court's ordering the wife to return to her husband for 6 months looks like an act of compassion. The buffoonish behavior of the judges was entertaining but not very plausible. Nor is it likely that the court would release the husband from prison--where it put him for contempt--on his promise to grant his wife a divorce and then release him (and try to wash its hand of the case) when he changed his mind.Can we really suppose two people to have a quiet, simmering mutual hatred for 30 years and choose to do nothing about it? Multiple implausibilities undermine the social commentary, but the drama remains compelling.

I watched it. Its riveting. I think when Elisha finally realized that in order to keep a wife around you must express love not just have it in your heart and that you cannot posses love as you do a object it was too late and the love of his life was out of his life and had completely disconnected from him in every way. Even then, his regard for his own jealousy and ego were more powerfull that the love he thought he carried for Vivian as revealed in the condition he imposed on her in order to give her the Gett. He loved her as his prized possession and his greatest conquest, not as a fellow human being. I think it broke his heart and crushed his ego that she left him. I found myself hoping desperatly for Vivian as she was thwarted repeatedly in her fight for freedom, feeling her despair and anger and the stinging injustice and degradation she suffered at the hands of the men in authority in her life and I admired her tenacity in persisting until she wrested her freedome from their hands. But was she really free?

I'd give it three and one-half stars if the computer would let me. It's a fascinating view of the rabbinical judicial practices and procedures in Israel, of which I had no inkling. Clearly women are less regarded under the law than men. The setting is stark, rarely outside a small white office which serves as a courtroom. The judges never show sympathy but do reveal impatience and anger at disrespect. It was a mystery to me why they kept reconvening the hopeless couple, or why the husband stuck stubbornly to the marriage. The final sequence reveals a little of his motives but not the culture that caused him to adopt them.

This is simply an astounding drama, with an amazingly circumscribed script and scenario, and possibly one of the best active jobs I've seen in recent years. Ronit Elkabetz is a screen presence on the level of only a handful of the greatest of all times. It was a thrill to discover her, and a great sadness to learn that she is already gone. Forget the "Jewishness" of the setting, it's Jewish like "Long Day's Journey into Night" is Irish, pure human interpersonal emotion. If you are a serious devotee of theatre and acting, you won't find a better vehicle than GETT.

mais j'avais lu "français" quelque part... et en fait, c sous titré en anglais... avec un peu de dialogue en français...donc j'ai été obligé de rassembler toutes mes facultés de compréhensions anglaises, alors que mon incapacité à bien lire une annonce (pas trop claire ?) en français est déjà limitée ;)bref, j'ai compris qd mm le filmet suis satisfait qd mm

This is an intense and moving film. It simply takes place in one location, the court room, as proceedings occur over a period of years to obtain a divorce for the main character. It plays out against the husband’s cold determination not to agree to a divorce ( only he can do so, under Jewish ruling) to his wife despite blatant incompatibility and years of hostility. The first film related to this is To Take A Wife, with the same cast, and it would be good to see this one first for further context.

tres bonne mise en scene, nous sommes quasiment assis au milieu du tribunal.saga judiciaire, qui nous tient en haleine d'un bout a l'autre.Témoins juifs marocains authentiques, dans leur comportement, leurs manieres,importés de leur MAroc natal. Parfois comiques, parfois dramatiques.

Israeli actress, screenwriter and director Ronit Elkabetz and Israeli screenwriter and director Shlomi Elkabetz`s feature film which they wrote, is inspired by the life of their mother and the third part of a trilogy which was preceded by “To Take a Wife” (2004) and “7 Days” (2008). It premiered in the 46th Directors` Fortnight section at the 67th Cannes International Film Festival in 2014, was screened in the Contemporary World Cinema section at the 39th Toronto International Film Festival in 2014, was shot on locations in Israel and is an Israel-France co-production which was produced by producers Sandrine Bauer, Marie Masmonteil and Shlomi Elkabetz. It tells the story about an Israeli wife, experienced hairdresser and mother of four named Viviane whom has been living with her sister, her brother named Emil Amzaleg and his wife named Rachel since she left her husband of many years named Elisha Amsalem whom she got engaged with as a fifteen-year-old.Distinctly and precisely directed by Israeli filmmakers Ronit Elkabetz and Shlomi Elkabetz, this finely paced fictional tale which is narrated from multiple viewpoints though mostly from the protagonist`s point of view, draws an immediately involving, thought-provoking and unprejudiced portrayal of an Israeli citizen constrained within the confines of a marriage she walked out of three years ago and no longer wishes to be restricted to, and her prolonged hearing before a rabbinical court called Beth din which is the only institution in Israel which can grant her a divorce, with the assistance of a renowned attorney named Carmel Ben Tovim. While notable for its interior milieu depictions, reverent cinematography by cinematographer Jeanne Lapoirie, production design by production designer Ehud Gutterman and costume design by costume designer Li Alembic, this dialog-driven and narrative-driven story about divorce laws in a country and republic of ingrained traditions which, as long as both parts have honored the agreement, makes the person requesting to end the pact plead for the other person`s consent which he or she is not obliged to give, and a judicial system which practices laws that makes it possible for people to become chained and dictates their dignity and personal choices which are not influenced but veraciously autonomous, depicts a dense study of character and contains a great and timely score by composers Dikla and Shaul Besser.This thematically concise, ironically humerous and compromising narrative feature which is set in Israel in the 21st century and where a Jewish father and mother becomes defendant and plaintiff, he keeps on ignoring her wish for separation, she keeps on fighting against a power their matrimony has given him and the judge of their trial clarifies that he can`t force her to return home to him and she can`t force him to grant her an annulment, is impelled and reinforced by its cogent narrative structure, subtle character development, rhythmic continuity, cinematographic precision, dynamic interplay, emasculating for both and scrutinizing interrogations, scene where the main character`s sister-in-law takes the stand, comment by the judge: “Know your place woman!” and answer by Viviane: “I know my place. Your Honor.” the diversely personified acting performance by Israeli actress Ronit Elkabetz and the reverently understated acting performance by French actor Simon Abkarian. A majestically theatrical, concentrated and heartfelt character piece.

In perfect condition.