Peter seems to have a very promising future - he is to take over the family business from his father and is in the process of starting his own family with his equally successful and attractive girlfriend. Peter believes he has all one could wish for. But one day his eyes are met by another's - eyes that reach all the way into his heart, eyes that he will never forget - Nassim's eyes. It is a love which cannot be dismissed; they soon develop a relationship which makes unsympathetic friends and members of his family very indignant. There is soon a huge chasm between the old Peter and the new one who has broken out - or who tries to break out. Nassim is the one who wants to be open and declare their love, for all to hear;
Peter has to struggle for his freedom, against his conservative background. The relationship is brought to an abrupt end;
the police storm into Peter's flat and arrest him - he is suspected of a brutal murder, the murder of Nassim.
In 1997, 37-year-old man was brutally murdered in Keiller's Park in the Hisingen district of Gothenburg. Susanna Edwards makes her first full-length feature with this powerful drama, inspired by these non-fictitious events. It is a tale of love, intolerance and the problems of breaking patterns of behaviour; but it is also about the liberation experienced, once a step is taken. The film strikes - as love strikes Peter - when least expected to.
Runtime: 90 min
Country: Sweden
Language: Swedish with English subtitles
Genre: Drama / Thriller
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Etyan Fox's Walk on Water is a juggling act of emotional ambiguities and moral lessons. Following enough plot threads to fill three more films, Gal Uchovsky's screenplay considers alienation in several forms: Jews displaced by Nazism, Israelis and Palestinians displaced by one another, and gays contending with homophobia. While the film follows one man's individual growth quietly and compellingly, it is less convincing when it reaches for broad social prescriptions. Eyal (Lior Ashkenazi) is an Israeli intelligence agent who, when asked about the recent Palestinian suicide bombers in his homeland, coldly dismisses them as "animals." As he suffers from a medical inability to cry tears, Eyal seems primed for blatant symbolism. Instead, he repeatedly moistens his eyes with drops, a more subtle, figurative reminder of his robotic precision.
