Shadows on the Wall | Between the Temples

Between the Temples

dir Nathan Silver
scr Nathan Silver, C Mason Wells
prd Tim Headington, Taylor Hess, Nate Kamiya, Adam Kersh, Theresa Steele Page
with Jason Schwartzman, Carol Kane, Dolly De Leon, Caroline Aaron, Robert Smigel, Madeline Weinstein, Matthew Shear, Lindsay Burdge, Diane Lanyi, Pauline Chalamet, Annie Hamilton, Jason Grisell
release US/UK 23.Aug.24
24/US 1h51

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Deploying a steady stream of riotous throwaway gags, this comedy explores a crisis of faith with warm humour and jagged honesty. Set in a Jewish community in Upstate New York, it's full of quirky, astute observations. Shooting on grainy film stock, director-cowriter Nathan Silver uses an offbeat storytelling style with surreal touches, witty editing and inventive camerawork. So even if it sometimes feels like an inside joke, it's hilarious.

A year after his wife's sudden death, Ben (Schwartzman) still isn't ready to return to work as cantor at his temple, where he works with Rabbi Bruce (Smigel). Meanwhile, Ben's mothers Judith and Meira (De Leon and Aaron) are determined to set him up with a suitable new bride, settling on Bruce's actress daughter Gabby (Weinstein). Then Ben runs into his now-retired elementary music teacher Carla (Kane), who asks to join his Bat Mitzvah course, as she missed out on one at 13. As their friendship becomes public, everyone struggles to understand it. Especially Ben.

Idiosyncratic visuals offer deeper glimpses into Ben's mental state, as he struggles to understand where he belongs and why he can't to sing when he's in the temple. He tries to mope around, but no one will let him, because Bruce and his moms continually interrupt his self-pity, pushing him in directions he's not sure he's ready to go. So Carla feels like a breath of fresh air, with her matter-of-fact way of looking at things and her willingness to embrace the messiness of life.

Performances are so offhanded that they often feel improvised, leaping from one punchline to the next. Schwartzman has likeable hangdog charm, even if he seems like a little boy who doesn't want to do grown-up things like move on. De Leon and Aaron are amusingly passive aggressive, letting the audience see their thoughts behind every pushy manoeuvre. And while continually deepening her role, Kane is radiant as the open-handed Carla, especially when she's visited by her harsh son (Shear).

The way the story embraces chaos can be a little frustrating for a viewer trying to follow along. This makes us outsiders looking in, rather than fully identifying with much of what happens. But there are several terrific moments along the way, mainly in the way the film reminds us to take life as it comes, roll with the punches and make the best of each situation. The characters may not always do this, but then it wouldn't be nearly as funny if they did.

themes, language, violence 24.Jul.24

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