Nessieldwi Very interesting film. Was caught on the premise when seeing the trailer but unsure as to what the outcome would be for the showing. As it turns out, it was a very good film.

MusicChat It's complicated... I really like the directing, acting and writing but, there are issues with the way it's shot that I just can't deny. As much as I love the storytelling and the fantastic performance but, there are also certain scenes that didn't need to exist.

Megamind To all those who have watched it: I hope you enjoyed it as much as I do.

Justina The film never slows down or bores, plunging from one harrowing sequence to the next.

FilmFlaneur Beaufort is that rarity among war films – one with the subject matter of retreat and a (at least implied) defeat of sorts. As such it falls in with such earlier and illustrious company as Ford's They Were Expendable (1945) - a generation and continent away perhaps, but which also showed the camaraderie that can develop at the anti-climactic close of a military campaign. Unlike Ford's work, with its unspoken certainty of eventual victory, director Joseph Cedar's Beaufort is a portrait of military inertia and inevitable pointlessness, at least as experienced by its small band of combatants. Conversely it's a million miles away from such films as Black Hawk Down where it's suggested gung ho bravery can some way appease for operational ineptitude and loss. If it's true that most history is written by the victors, then Cedar's film and its ilk ought to be treasured as offering a truer and more convincing alternative - even if, as in Beaufort's case, the results are criticised by local critics for being 'left wing' and 'defeatist'.Co-adapted for the screen by its author Ron Lesham, the film concerns a group of soldiers guarding a mountaintop in Lebanon shortly before the Israeli withdrawal in 2000. Beaufort Mountain is a place with particular historical significance, both as twelfth century crusader castle and a more recent, hard-won Israeli military capture - although it's quickly apparent that the value is more symbolic than strategic. Frequently shelled by the Hezbollah, guessing perhaps that the IDF is about to pull out, the outpost is isolated, the garrison depressed, with an unclear purpose.As the film starts, Beaufort's soldiers are joined by Ziv (Ohad Knoller), sent to investigate a new-style explosive device found on the road. During the opening scenes of the film there's some anticipation in subject matter of the recent Hurt Locker, but matters shortly take a different course after the first traumatic event. It turns out that the central character of Cedar's film is not the bomb expert but the introspective and honourable Commander Liraz (Oshri Cohen). A man who "can't believe someone gave him the job", whose increasing guilt and disillusionment at his responsibilities make up the core of the narrative.It has to be said that Beaufort is rather a glum film, shot in claustrophobic interiors, often at night. This may be an accurate representation of warfare under such circumstances but although Cedar, like Ford, admirably avoids sentimentality he fails to fill the space left with any real pathos and poetry, although showing successful empathy with his characters. Neither is there much, if any, black humour to provide contrast. When not on guard duty, or dodging incoming rockets, the soldiers are normally in their bunker-like environment – the corridors of which at times remind one of a spaceship without an alien - gloomily interacting with each other. The military installation on Mount Beaufort, largely empty and of questionable purpose, becomes a symbol of their whole mission, perhaps even more so than the plaque hanging there celebrating recent war dead. The camp stands in contrast to the remains of the original castle, visited at one point by several of the soldiers while in contemplative mood: the earlier construction had a far more distinguished point and still seems to be a source of strength.Where Beaufort scores is through its representation of a soldier's life when trapped between duty and political inertia, even though it's implied withdrawal from political engagement can be seen both as a strength and weakness. Instead of confrontation, it relies upon the unspoken rage of the morally dispossessed. In one telling scene, we see Ziv watching on TV an interview with the parent of one of his fallen comrades. The commander's slow tapping with a lighter on the table, an insistent accompaniment to the points being made on the small screen (that a parent's duty is to ensure his offspring are better aware of the value of life), is like a military tattoo for a friend's funeral cortege and though him, honour itself. Ziv, the loyal soldier, cannot overtly question his predicament, but the ironic beat over coverage of events inevitably offers commentary.Writer-director Cedar's previous two films Ha-Hesador (aka: Time of Favor, 2000) and Madurat Hashevet (aka: Campfire, 2004) both engaged with social and political aspects of the modern Jewish state, sometimes with controversial elements. In this latest one he provides another well-wrought and thoughtful piece, worth seeking out, even if it does not pretend to offer any answers. But perhaps that is the point: answers are always hard to find, let alone agree on, in such circumstances.

Rachel Enevoldsen This film has just been aired on the Copenhagen International Film Festival and of all the Israeli films available, this was the one I was - not - going to see, and yet I did. It is still only a few days, since I saw it, but the images return and the sheer originality in terms of being a 'war movie' coupled with the usual Jewish genius of making a point: in short comment, dry humor, body language, tone of voice, well chosen repetition i.e. the monotonous, almost dead, tone over a loudspeaker from the lookouts stationed to warn against 'incoming, incoming' missiles, which after explosion were commented on by,'impact, impact'. After the third or fourth of these 'scenes' I suddenly felt a wave of claustrophobia and fear, which these young Israeli soldiers must have felt being stuck on a mountain top, without a visual enemy, and only lookouts to rely on for their own lives and safety, 'incoming, incoming' - crash, bang -'impact, impact' - it was unnerving. This film is a must for anyone - also those who like me, are not war buffs, because it is not about war. It is about a lot of things. Reality, how to handle anxiety, frustration, loss, grief, in a tight and stuck environment, with no relief in sight, (Israel itself?) It is about individuality in terms of different personalities, backgrounds, political opinions who have to make it work and who do in their own humorous, gentle, aggressive, accepting way. It is about men and a male attitude which I have not witnessed for over thirty years,(and sorely missed); the honesty and humanity of men, and it is about exile. The one lifeline to the home country; a dirt road, has been blocked by a strange explosive device for about a month, and this is where the film starts, with the bomb squad arriving at the outpost, to identify and disarm the device, so that the outpost can receive supplies once again...and a whole 'different' story is touched upon. I could go on for hours about this film, and not in a very logical way, since all the 'points' haven't been connected yet, it has so many layers. This what I call genius - 'layering' and this is what I look for in Israeli film and this year it was Beaufort, who delivered. Go and see it.

eyal-aradi This movie is simply amazing - but as mentioned else where - might be extremely problematic for the non Israeli, non IDF serving audience. Despite that - the movie has a universal notion that shines through: occupation wars that last for years on end with no clear objective except to stay in the occupied land cannot be won. This is hardly even war - its the use of naive young men, using their sense of patriotism and love for their country and willingness to serve it for a twisted, outdated political machination that ends up killing them and putting them in impossible situations. The movie was criticized for being far too left winged, but I view it as mostly right winged - it shows the camaraderie of soldiers, the bonds that can only be created, or so it seems, in a close knit military unit. Also - there are no women in the movie, not even by voice - which further serves to show a society built on macho-ism and the devotion for young men and their sacrifices to the country. There are no talks of peace here, no talk about negotiations or even viewing the enemy as human. There is only running away or fighting. Despite all that - the movie captures a sense of reality, filled with all variants of humor and pain and longing to get home that captured me completely. I served 4 years in the IDF and this movie manages to get to the core, to the essence of the unbelievable situation of serving, fighting and dieing without knowing why, without seeing any goal or reason in the madness - only following orders. This is one of the best Israely movies created - if you have any interest in Israely cinema, regardless of your political or other views, don't miss it.

Paul Martin I'm not a fan of the war genre, but Beaufort plays out more as a psychological thriller, and I find it hard to fault. There was an amazing blend of naturalism, stylistic devices, humour, touching human drama and suspense - at one time I jumped in my seat like I never have before.The camera movements and cinematography are excellent and reinforce a sense of claustrophobia as a group of Israeli soldiers keep guard at an historic fort within southern Lebanon, but are virtually under siege by Hezbollah forces. Character development is also excellent with much authenticity. The film focuses on the idiosyncrasies of various characters and how they interact with each other under the circumstances. Respect for the commanding officer is sometimes lacking, resulting in a lack of discipline and friction at a difficult time.I count this film as one of my favourite films in the genre, kind of a cross between Stanley Kubrick's Full Metal Jacket and Sam Mendes' Jarhead, and as good as either of these. Like these two films, there is an understated political critique in how young men are pawns in the games played by those who live comfortably away from the field of battle and death. Whether you like war films or not, this is must-see cinema.I saw the film's screening at the Melbourne International Film Festival.