Yoav, a young Israeli man, has a one-way ticket to Paris believing France to be his salvation from what he sees as the madness of his country. Things don't get off to a great start as he discovers his living arrangement is unfit for living, yet his grandiose expectations leave no room for a failure to adapt. Wholehearted in his resolution to erase his Jewish-Israeli origins, he refuses to speak Hebrew and obsessively studies his constant companion, a French dictionary. He dev... (Full plot summary below)
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Yoav, a young Israeli man, has a one-way ticket to Paris believing France to be his salvation from what he sees as the madness of his country. Things don't get off to a great start as he discovers his living arrangement is unfit for living, yet his grandiose expectations leave no room for a failure to adapt. Wholehearted in his resolution to erase his Jewish-Israeli origins, he refuses to speak Hebrew and obsessively studies his constant companion, a French dictionary. He develops a particularly strong bond with his privileged neighbor who symbolizes - to Yoav - the French promise of fraternité. Nothing can extinguish Yoav's determination to be thoroughly French. Based on the real-life experiences of writer-director Nadav Lapid, SYNONYMS explores the conflicted realm of fervent Nationalism and the challenges of putting down roots in a foreign land.
Leave your thoughts about Synonyms.
| IndieWireDavid EhrlichLapid’s film is too fresh and intransigent to know how well it will age over time or hold up to repeat viewings, but on first blush it feels like a powerful howl that’s hard to hear clearly, and harder still to get out of your head. |
| The New York TimesManohla DargisFurious, brilliant, exhausting, Synonyms is the story of a man in self-imposed exile. |
| Wall Street JournalJoe MorgensternOne word for Nadav Lapid’s Synonyms, a movie with a hero obsessed with words, is astonishing. Other words apply to this Israeli feature, in subtitled French and Hebrew, that’s set in Paris. They include, in no particular order, fascinating, infuriating, frightening, lyrical and befuddling. Plus deadpan funny and frequently stunning as a bittersweet ode to contemporary France, one that’s suffused with New Wave verve. |
| Los Angeles TimesJustin ChangA searing, maddening, explosively brainy movie about the mutability and immutability of the self that, appropriately enough, never stops changing shape. |
| New York Magazine (Vulture)Bilge EbiriThat’s part of the beauty of this film: It games out very real, very human impulses to their surreal breaking points, only to uncover even greater truths. |
| VarietyJay WeissbergBreathtaking in the way it careens from one scene to the next in a whirlwind of personal and political meaning all but impossible to grasp in full measure, the film is an excoriation of Israel’s militant machismo and a self-teasing parody of Parisian stereotypes, embodied by actor Tom Mercier in this astonishingly audacious debut. |
| Washington PostHau ChuWhat makes Synonyms so compelling is how it explores the theme of identity through a lens of searing self-reflection. |
| Boston GlobeTy BurrSynonyms turns increasingly oblique in its final half hour, as it dawns on Yoav that the door he’s hammering at may never open and let him in. But the sight of this desolate young man strutting about Paris in a borrowed orange trenchcoat is not one you’ll soon forget, nor the exhilarating film that swirls around him. |
| The Globe and Mail (Toronto)Simon HouptNot everyone is equal, though, if we’re being honest. Synonyms are words that mean similar but ultimately different things. At one point, students in the class are asked to stand individually and recite sections of La Marseillaise. Who knew the chorus of the French anthem contains the bracing nationalist lyrics, “Let us march! Let us march! So that impure blood irrigates our fields!”? |
| Paste MagazineAndrew CrumpLapid articulates Yoav’s increasingly fevered quest for the impossible through aesthetic fluidity: Whip pans and judicious use of saturated colors, couched foremost in the mustard-yellow, knee-length coat Emilie plucks from his wardrobe for Yoav at the beginning of the movie. It all reflects the movie’s rich and assertive style, a detached cool to hold the audience at the proper distance from Lapid’s narrative. |
