https://www.indiewire.com/criticism/movies/naza-documentary-review-1235215395/
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“The interviews in “NAZA” bear a striking resemblance to those in Joshua Oppenheimer’s “ The Look of Silence, ” about the perpetrators of Indonesia’s 1960s politicide, when millions sympathetic to communism were put to death.”
“Over a mere 80 minutes filmed on rooftops in Tel Aviv, the Israeli half of the collective behind West Bank land-grab doc “ No Other Land ” — directors Rachel Szor and Yuval Abraham — interview anonymous IDF sources who detail their methodology in drawings and words.”
“Their silences, however, are just as revealing.”
“Powered by WordPress.com VIP Venice ‘NAZA’ Review: The Israeli Directors of ‘No Other Land’ Illuminate the Mechanics of Genocide in Another Essential Documentary Rooftop interviews in Tel Aviv play host to monstrous revelations about AI-assisted massacres.”
“Related Stories No One Knows Better Than Filmmaker Scott Waugh Why Authenticity Is the Ultimate Special Effect Zach Cregger Weighs in on the Physical Media Debate Ahead of Sony’s ‘Resident Evil’ Jumping between archival clips, shots of modern infrastructure, and sit-downs with a mammoth 24 different whistleblowers, “NAZA” builds on existing reporting by The Guardian, +972 Magazine and Local Call.”
“As interviewees list justifications for murdering civilians, including children, the camera’s gaze eventually falls on the IDF’s own military headquarters.”
““You can see the city, but the city can’t see you,” one subject observes about their makeshift, open air studio.”
“The technology, in this case, searches through key words, often spoken by children, from tapped phone calls in real time, before a fatal strike is deployed by human hands.”
“Using long lenses, they peer through civilian windows at night, inducing a sense of unease as ordinary people unwind, re-creating the very same voyeurism inherent to the IDF’s Big Brother protocols.”
“And yet, their reasons for speaking out aren’t as straightforward as a heavy conscience.”
“The details of the IDF’s gamification of murder are especially gut-wrenching, and while Abraham doesn’t verbally dispute how his subjects frame October 7 th (in a wider historical context), the movie’s sense of historicity is a challenge all on its own.”
“It’s likely to shake you to your core — not because of what facts might be revealed (much of this information is already out there), but rather because of the stirring form in which they come to light.”
“Read More: Film NAZA Reviews Venice Daily Headlines Daily Headlines covering Film, TV and more.”
“Some of this was carried out by Abraham himself, who plays the role of chief interrogator here, sitting opposite each source in profile in the dead of night.”
“Where one subject pauses to consider if he’s partaken in ethnic cleansing, another simply rattles through his achievements, as though listing accomplishments in a video game.”
“Does something deep down, some latent remorse, urge them to speak out?”
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