Waltz with Bashir

i just watched the film, it's interesting as story and directing.
but funny how Israeli solders never stop shooting all the film with no single victim :S to be honest, there was 26 dogs and arabic horses

still, it's an intelligent film, wish we have the courage to make our version as interesting as this one.

Ariel Sharon was waltzing not Matilda (although he did possess many sheep) but Bashir Jumayel (interpretable in Arabic as "the handsome of the handsomes"), drawn into a fatal symbiosis with the Christian phalangists, who hated Palestinians as much as Sharon did. That’s one of the two reasons for the film title. The literal reason is seen clearly in one of the scenes in the film itself.

As opposed to what one might expect, this film is NOT about Middle Eastern politics. Neither is it about war heroism; the soldiers are miserable. The film is PSYCHOLOGICAL. It is about Kafkaesque existence, personal surreal dreams, self-introspection, memory repression, and denial. DENIAL is not a river in Egypt. It’s a massacre in Lebanon. In Zur Genealogie der Moral ‘On the Genealogy of Morals’, Friedrich Nietzsche argues that forgetfulness is an active process. The role of active oblivion is that of a concierge: to shut the doors and windows of unbearable consciousness.

The film is SURREAL. For example, it has a scene in which Israeli soldiers occupy a lavish, luxurious villa between fighting. The officer, apparently a PORN-AGAIN JEW, is watching a German pornographic film. (For some reason, in the 1980s almost all porn movies in Israel were imported from Germany). The officer tells the soldier ‘taavir, taavir’ “fast forward, fast forward’ because he wants to get to the point, to the crux, in which the German man performs a doggy on the German woman. There is no time for foreplay!

What Ari Folman, the talented autobiographic director and narrator of the film, does in the film is a little bit like what that officer does when watching the porn movie: he wants to get to the crux: the Sabra and Shatila massacre.

I initially thought an animated documentary as a simulacrum was an oxymoron. But paradoxically, it is more authentic given the complexity.

The grip: All wars are ugly, let alone long wars consisting of occupation and policing of civilians.

the movie is good but not great, aside from certain political differences and reasons on how and why the massacre has happened and who is responsible, I will not say I know the truth about this but at least the movie shed the light on what happened that time, I didn't view the issue as a part of the ongoing conflict in the middle east but in a rather more broader humanly way that's how the movie should be seen for you or anyone to get the message
its not about anyone as much as its about the director memories about the war and the massacre so its based on some personal opinions and stories
so I am not sure about how truthful this facts was,but at the end we can say that we have an emotional and humane film about war aside from the political sides and everything

this movie is the funniest propaganda ever..loool..turning israeli soldiers into victims of the war who did not even participate in the massacre and were traumatized by the killings of" INNOCENT KIDS AND WOMEN"...pleaseeee it is Hilariouss.

The political reaction to the movie as a demonization of the Phalanges and gratification of the IDF is simplistic and chauvinistic.
The film can be described as an episode of a much larger circle of violence in which, in the case of Sabra and Chatila, the IDF stayed passively aside.
Knowing that two weeks earlier (1 september 1982), the IDF occupied Beirut after an air raid which generated some 27 000 civilian deaths, the film can be appreciated not as a enlightening account on the Lebanese war and Israel's responsibility in it; but rather as a personal journey of an IDF soldier.
It is only in this context that the narrative, animation palette, psychological flashes, music and enfilade of sequences all work effectively to provide a rich, astounding human-based approach to this isolated historical instance.
It is also in this context that the characters revolving around the young man are animated selectively so as to trace his journey against his war amnesia, leaving much of the others (Palestinians, Militia, non-comrades IDF) as silent actors providing the plot's background.

Hoy escribo desde el odio; odio profundo hacia la impunidad de los Estados invasores, aquellos que crean conflictos, que matan, que hacen muertos, y destruyen el cerebro de los soldados que defienden su país; su tierra; su sin sentido.
Así es Waltz with Bashir, cine documental animado, que narra la violencia que engendra una guerra; dibujos animados en dos dimensiones, sin modelar, sucios, austeros, rotos; como la guerra; como la muerte.
El punto de partida, la conversación entre dos compañeros de batalla, y el sueño de uno de ellos que se repite: veintiséis perros salvajes corren por las calles de la ciudad hasta que se detienen en el lugar donde reside.
El que escucha, el otro ex-soldado, no recuerda, no retiene porciones de su propia historia, de su pasado militar; es la búsqueda de aquellos que compartieron su dolor, para completarse; para concluir su propia historia.

The fact is and it is clearly seen in the movie that the massacre in Sabra and Shatila was done by arab christian militias (phalangas) as revenge for Bashir Jumail's murder by muslim palestinian terrorists, IDF soldiers where the one who stopped this after they understood clearly what happened in those camps.

fuckkkkkkkkk ısrael