CommentsXp Best movie ever!

Pacionsbo Absolutely Fantastic

Bea Swanson This film is so real. It treats its characters with so much care and sensitivity.

Jonah Abbott There's no way I can possibly love it entirely but I just think its ridiculously bad, but enjoyable at the same time.

aharmas Pierre goes back to his native town, and he has a mission: to give back to the children of Jaffa something that has meant much in his life: the ability to enjoy life, to heal, to improve, to have a new perspective in life, to change your life. What for him appeared to be an easy task soon proves to be an almost impossible challenge. In the beginning it looks like he's about to give up because social, political and cultural events have shaped the history and beliefs of the community; it looks like music and dancing might not be enough to alleviate some of the pain the city has and is still going through.This man won't give up, and he uses every possible resource at hand to charm and convince the reluctant students. There are just too many differences between the Jews and the Palestinians. Some of the children are aware of the situation. Others don't understand why there is tension, and others are more open minded and willing to change the status quo, but it appears this is the minority.Add to this, individual problems in many of the children's lives. Noor is still trying to overcome the loss of a parent. Other children live in poverty and haven't been exposed, relate, or have the means to fully participate. Worse is the fact, that there's fear of the unknown and the inability to see that, as the teacher mentions in the film, labels are unnecessary because everyone is the same.Magic happens when an old dance partner shows up, charming the kids with her amazing personality and grace. There's genuine sympathy and affection, and the door opens. Slowly, some of the kids warm up, train, begin moving to the beat of different dance genres. They want to go all the way to the finals, and it's heartbreaking to see a preliminary selection. The film gets close to the children, and it shows the resentment and disappointment of those who couldn't go to the next level.More surprises come before the end, and at first, we fear more setbacks, but things get better, more emotional, more intense, and we reach the final competition, a moment where differences disappear, and everyone concentrates on a common goal: to participate, to enjoy, to win, and to see the universal elements in all of us. There is a moment when the results are given, and we see an explosion of joy, but we don't see the faces of those who are the runner ups. Maybe it's not needed because the contest organizers come up with a very nice way to make everyone feel like a winner. It's truly a fantastic way to show unity, admiration, recognition, and respect."Dancing" goes beyond the usual documentary by exploring the background of a society and showing the past, present, and the possibility of change in the future. There is hope that these children will be seeds of change and help close the chasm that now exists. It's a lovely work of art, a way to show us there's still goodness in the world, and that we might never understand why our feet move to the beat, and our hearts beat in unison, but as long as that is possible, we have a chance to keep going until we feel safe and happy again.

Chris Knipp Hilla Medalia is an award-winning 36-year-old Israeli documentary filmmaker whose 2007 To Die in Jerusalem brought together in dialogue (by satellite) the mothers of two teenage girls paired on a 'Newsweek' cover, a Palestinian suicide bomber and an Israeli girl killed by her bomb. Her new film is about a less grim effort by famous ballroom teacher Pierre Dulaine to bring Jewissh and Palestinian kids together on the dance floor, and we see some little friendships and personalities bloom in his modest "peace process." Jaffa, once a Palestinian town, is now a poor, mixed suburb of Tel Aviv. The intense 2009 joint Israeli- Arab feature film 'Ajami' focused on a rough part of Jaffa. In 'Dancing in Jaffa,' Hilla Medalia follows Pierre Dulaine as he goes back to Jaffa, where he was born in 1944, son of an Irish father and Palestinian mother. (In the film he never mentions that his mother was also half French, which explains "Pierre.") He has not been back since his family was driven out when he was a child. He comes to introduce to Palestinian-Israeli, Jewish-Israeli, and mixed schools in Jaffa his Dancing Classrooms, a social development program for fifth- graders that uses ballroom dancing "as a vehicle to change the lives of the children and their families" (Wikipedia). This time the primary "change" is the somewhat radical one of pairing Jewish and Arab girls and boys as dance partners.In teaching gawky eleven-year-olds to dance, the pixieish Dulaine emphasizes etiquette, dignity, and respect from the get-go. He has to give up on one school because they boys won't dance. The more extreme Muslim males won't touch girls, or at first refuse. Things don't go that well at first, and for a while Pierre brings over from the States his (dancing, not life) partner of 35 years, Yvonne Marceau. Their dancing together for the kids inspires them: you can see the boys' eyes light up; they are charmed. Medalia follows several of the kids more closely, notably Noor, a plump, dark Palestinian girl whose grief over the death of her father makes her sullen, depressed, and sometimes violent. Alaa is a small boy who lives in a shack with his poor fisherman father. Alaa, dark and all smiles, and Brenda, a curly-haired Jewish girl fathered out of a sperm bank, become partners for the upcoming dance contest, and their jaunt on Alaa's father's little rowboat heralds a budding friendship. But the real miracle is Noor, who shows rhythm and grace from the start, and whose selection for the competition is part of a reawakening and new happiness that you can't help being a little amazed by. Ah, fifth graders: this is the age when kids are most open and malleable.The film shows other things, like Dulaine approaching his family's original residence and beating a hasty retreat when the current occupants are not just unfriendly but apparently downright hostile. Dulaine mostly speaks English, but he also speaks Arabic to the kids who understand Arabic. For Hebrew, he has an interpreter or the teachers translate for him. The schools he visits are Israeli-Palestinian, Israeli-Jewish, and mixed Palestinian-Jewish. There are seven different dances in the lessons and final contest, though merengue and rumba seem to predominate. At the final contest, all the parents are as excited as you'd expect. Each dance couple pairs a Palestinian and a Jew. And nobody seems to mind. At least for the moment, Dulaine has achieved reconciliation and crossed barriers that earlier, seemed uncrossable. All this will be vaguely familiar, because you've probably seen a couple of other movies Pierre Dulaine inspired, the 2006 musical drama 'Take the Lead,' starring Antonio Banderas as Dulaine, and 'Mad Hot Ballroom,' a heartwarming and popular 2005 documentary about New York fifth graders who learn dance and take part in a dance contest. However, Dancing in Jaffa prefers not to mention these, and alludes only vaguely to Pierre Dulaine's fame as a ballroom dancer when he partnered with Yvonne Marceau at Jacob's Pillow, on Broadway, and in London, or his having been on the faculties of the School of American Ballet, Alvin Ailey American Dance Theater, and the Juilliard School. This movie isn't about that. It's about little Jewish and Palestinian Israeli kids being polite and friendly and wiggling their hips gracefully together. 'Dancing in Jaffa,' a fairly simple and minimal film, isn't as priceless and cute or as proficiently made as Mad Hot Ballroom. But the gaps it bridges are, of course, more significant. 'Dancing in Jaffa,' 84 mins., in Arabic, English, and Hebrew with English subtitles debuted in NYC in January 2013, and was included in the Tribeca and Sydney festivals. It has been picked up by Sundance Selects. Screened for this review as part of the San Francisco Jewish Film Festival (July 26-Aug. 10, 2013).

rylos-3 -- This review may contain spoilers -- I saw this at the Tribeca Film Festival. It's amazing that one man could have three movies made about his work, but that's the case with Pierre Dulaine. Mad Hot Ballroom was a surprise hit (for a documentary), being shown in theaters for six months. Take the Lead was a dramatization, with Antonio Banderas playing Pierre. That was much more Hollywood-ish, but there was a tango in it that was worth the price of admission! An obvious question is whether Dancing in Jaffa is just Mad Hot Ballroom set in the Middle East. I don't think so. I like movies that turn out to be about something other than what you think they are. People may buy tickets for this because they liked MHBr or like ballroom dancing, or have heard of the Dancing Classrooms program, and they'll be glad they did. But my takeaway was more about the Middle East than anything else, and a team of Clydesdales couldn't drag me to see a film on the Middle East. After all we've read, the decades we've seen of strike (and the centuries of strife before that we know about), the endless rounds of peace talks, truces, terrorism, protests, evictions, posturing, threats and war, I never want to hear about that place again. And yet, we need to. DiJ gently, very gently, exposes us to slices of life we'd never see, bitterness and sweetness, but doesn't drift into the saccharine.Kids get rescued by the most unlikely people and the most unlikely activities. Chess ramps up the mind of a boy in the ghetto. Choir keeps a young girl from hanging out with the wrong crowd. An environmental program rounds up toughs to clean an urban riverbank and one of them becomes a biologist. Still, ballroom dancing seems a particularly obscure way to approach this. Dulaine himself admits it. But it's his life, so naturally he deploys his tool. He was born in Jaffa so you can't criticize him for cultural imperialism or some such. It's a worthwhile program and is continuing there, and in other cities around the world.It's a worthwhile film, too. More than an advertisement for a particular NGO, it's a testament to the power of one person, using this implausible approach, to do something that at least brightens the days of some children. Twenty years from now, I'd like to hear the interview with someone who advanced out of poverty or depression, who when asked what spurred him or her on, begins his or her answer with, "well you're not going to believe this, but the turning point for me was a foxtrot in the fifth grade taught by this guy named Pierre Dulaine…"

tonywohlfarth The advance billing for Hilla Medalia's 1st feature-length film talks about overcoming the political & cultural differences between Palestinians and Israelis. Regretfully, Dancing in Jaffa under- delivers. Pierre Dulaine is an international ballroom dance champion who helped found the New York-based non-profit, Dancing Classrooms. Dulaine decides to export the dancing lessons to the city of his birth, Jaffa, which is now a poor Arab suburb of Tel Aviv. Today, Jaffa is very much a divided city and Dulaine decides to bridge these differences by working with students in both the Jewish and Arabic areas of the city. The result is a "feel good" competition involving young people from both sides of the divide. Ballroom dancing requires touching, but is this bridging cultural and political differences? Hardly. The political and social divide is great, and importing dancing from USA is more about entertaining than overcoming political differences. Palestinian aspirations for self-determination in the face of an ongoing Israeli occupation are unfulfilled, and Dancing in Jaffa is but an American-centric footnote in this never-ending struggle.