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These techniques allow Folman to create an eerie film that he describes as, “ at the border of reality and the subconscious.”Īs the film encounters more and more veterans, a picture begins to form of the inner world that these soldiers created. Folman seamlessly weaves together interviews with his fellow veterans with dreams and memories of the war using a combination of the rotoscoping technology pioneered in “Waking Life” and flash animation. The film opens with a veteran’s nightmare of the dogs that he killed in war and follows Folman as he tries to piece together his own memories of serving as a soldier in the war, particularly with regard to the Sabra and Shatila refugee camps. “Waltz with Bashir” instead takes a deeply personal approach, focusing on the effects that the Lebanon war had on Folman and his colleagues in the army. But watching the film dispels any easy comparison between conflicts and thwarts efforts to clearly assign guilt.

It was tempting to draw parallels between Ari Folman’s stylized images of the 1982 Lebanon War and the unfolding violence in Gaza and southern Israel. A recur­ring image of three sol­diers emerg­ing naked from a black sea hyp­not­i­cal­ly brings the read­er clos­er and clos­er to a shock­ing end­ing, which serves to rein­force Folman’s mes­sage of the futil­i­ty of war.Tensions escalated between Israel and the Hamas government in Gaza just as “Waltz with Bashir,” Israel’s submission for the best foreign language film Academy Award, opened in U.S. The illus­tra­tions are both real­is­tic and sur­re­al­is­tic the back­grounds resem­ble pho­tographs, while the action and main char­ac­ters are depict­ed with bold col­ors and vivid expres­sions. The point of view switch­es between nar­ra­tors as Folman’s fel­low com­bat­ants strug­gle with mem­o­ry and trau­ma. Simul­ta­ne­ous­ly released as a movie and a book, Folman’s graph­ic nov­el has a dream­like qual­i­ty. With the help of friends and fel­low sol­diers, he fol­lows a trail of flash­backs and rem­i­nis­cences, until he grad­u­al­ly puts togeth­er a pic­ture of his role in the war. Now a suc­cess­ful film­mak­er in Tel Aviv, Fol­man embarks on a jour­ney to fill in the gap­ing holes in his mem­o­ry. Fol­man repressed his mem­o­ries of that night for more than twen­ty years, until a friend’s recur­ring night­mare stunned him into real­iz­ing the extent of his mem­o­ry loss. As his unit was secur­ing two refugee camps, Chris­t­ian mili­tia mem­bers entered the camps and killed thou­sands of Pales­tini­ans. When Ari Fol­man was a nine­teen-year old sol­dier in an Israeli com­bat unit, he was sta­tioned in Beirut dur­ing the 1982 war with Lebanon.