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| Scene from Menashe |
In case you didn't know, A24 is one of the great purveyors of modern cinema. Since 2013, the studio has found a way to innovate independent cinema by turning each release into an event. As a result, A24 A-to-Z will be an ongoing series that looks at every release from the studio by analyzing its production history, release, criticisms, and any awards attention that it might've received. Join me on a quest to explore the modern heroes of cinema by exploring every hit and miss that comes with that magnificent logo. They may not all be great, but they more than make A24 what it is and what it will hopefully continue to be for ears to come.
Released: July 28, 2017
Release Number: 53
Directed By: Joshua Z. Weinstein
Starring: Menashe Lustig, Yoel Falkowitz, Hershy Fishman
Plot: Within Brooklyn's ultra-orthodox Jewish community, a widower battles for custody of his son. A tender drama performed entirely in Yiddish, the film intimately explores the nature of faith and the price of parenthood.
The summer of 2017 was definitely an odd one for A24, but then again that's how they like it. Following their 50th film with Nazi love story The Exception, the studio released two horror movies that were anything but orthodox in It Comes at Night and A Ghost Story. To round out July, the study turned to a different kind of orthodoxy: director Joshua Z. Weinstein's Menashe: a film about a father trying to get custody of his child. While that is a fairly familiar premise in a typical drama, Weinstein's interest is more in the community of Hasidic Jews in a film that is spoken predominantly in Yiddish. The director was seeking to make an authentic document of a community that is shy about putting their face to film. As a result, it makes his film all the more unique, and an even more special addition to the A24 stable, which already features tons of odd choices that make them stand out more.
The idea started with Weinstein, who was a documentary filmmaker for Frontline. It took him to various corners of the world to document events, which lead to his curiosity for cultures different from his own. While he was Jewish, he found himself curious about the Orthodox branch one summer when he decided to visit every beach in New York. When he discovered the people being reluctant to communicate with the outside world, he became excited to learn more. However, he couldn't bring a camera into the neighborhoods, as he wouldn't get an authentic reaction. Instead, he spent time there documenting things that he felt were appealing, doing his best to find a story authentic to the Hasidic culture. To say the least, the concept for the film came long before the plot developed, as Hasidic Jews weren't quick to talk to him about any film project.
Among the few who did at first was Menashe Lustig, who would go on to play the titular father. His interest in the film lead Lustig to serve as a gateway to other actors within the community. Weinstein emphasized that he wanted to go for authenticity, meaning no actor outside of the faith. It was an odd choice given that Weinstein didn't even speak Yiddish and relied on a translator on set. He also tried to avoid contemporary Yiddish, as he felt it would be too distracting. Still, Weinstein's talk with Lustig resulted in conversations about the man's life. A lot of the details would be put into the plot, making it an almost autobiographical film about Lustig. The new actor would read the pages and feel like Weinstein had just written his life down. Due to the authenticity of the project, most of the actors in the film were amateurs. This resulted in the script having to be precise, as improvisation wasn't a strong suit among the cast. Many backed out before filming even started for various reasons, mostly dealing with religion.
With Weinstein being a stickler for details, it became difficult to properly portray the characters when it came to public scenes. It was hard enough to shoot female actors, as the Orthodox Jews had a belief against seeing women act. Weinstein got around it by only portraying women whom Menashe had to talk to in daily life as family. As for the public scenes, Weinstein would post notes around that would tell strangers that they were filming. By some luck, this allowed things to go along smoothly. It was only in one scene involving a lot of pyrotechnics that Weinstein's shirt caught and fire and became full of holes. Beyond that, the film's shooting was fairly successful. Lustig claims that the film may help to start a group of filmmakers in the community, though he refuses to leave the community for Hollywood. He also joked that Menashe the film may be among the most pirated in the community for similar reasons.
The film played at Sundance in 2017 to positive reviews. There would later be a trailer for the film, which featured the song "Pashul" by Zusha. The film would gross approximately $1.7 million at the box office, though it ended up on Blu-ray in the United States through A24. The reviews for the film were some of the studio's most acclaimed. On critics aggregate website Rotten Tomatoes, the film received a 95% with many praising it for its authenticity. Peter Keough of Boston Globe reflected this positive reception by suggesting that "Weinstein brings a palpable authenticity (attributable in part to a cast made up of local non-actors) to this universally resonant story, rendering it unique and specific in a meticulously detailed setting." Adam Graham of Detroit News was also enthusiastic, claiming that "Menashe is a little slice of life, delivered with a knowing sense of truth." The few that disagreed sided with Alistair Ryder of The Digital Fix, who noted "There are welcome insights in to a culture largely ignored by society; unfortunately, they are married in to a domestic drama that slowly loses steam and never manages to overcome how boringly familiar its central scenario is." While the film didn't win many major awards, it was nominated for a Gotham Award and an Independent Spirit Film Award.
For what it was worth, Menashe was a film that could only be made by those passionate enough about the subject. Weinstein's ability to view the community with affection allowed him to make a film that resonated with audiences both inside and outside of the faith while allowing the Yiddish language to be used in some of cinema's most meaningful ways. It was a rare achievement, and one that may or may not lead to more perspective films about Orthodox Jews. Still, it was an interesting way to wind down summer for A24 before Oscar season started kicking into gear. However, there was one more thrill ride to come before then, and one that posited that yet another actor from the Twilight franchise was capable of being taken more seriously as an actor. It was a gritty film that would compete at Cannes and become another hit for the studio in its own dark and disturbing kind of way.
Up Next: Good Time
The summer of 2017 was definitely an odd one for A24, but then again that's how they like it. Following their 50th film with Nazi love story The Exception, the studio released two horror movies that were anything but orthodox in It Comes at Night and A Ghost Story. To round out July, the study turned to a different kind of orthodoxy: director Joshua Z. Weinstein's Menashe: a film about a father trying to get custody of his child. While that is a fairly familiar premise in a typical drama, Weinstein's interest is more in the community of Hasidic Jews in a film that is spoken predominantly in Yiddish. The director was seeking to make an authentic document of a community that is shy about putting their face to film. As a result, it makes his film all the more unique, and an even more special addition to the A24 stable, which already features tons of odd choices that make them stand out more.
The idea started with Weinstein, who was a documentary filmmaker for Frontline. It took him to various corners of the world to document events, which lead to his curiosity for cultures different from his own. While he was Jewish, he found himself curious about the Orthodox branch one summer when he decided to visit every beach in New York. When he discovered the people being reluctant to communicate with the outside world, he became excited to learn more. However, he couldn't bring a camera into the neighborhoods, as he wouldn't get an authentic reaction. Instead, he spent time there documenting things that he felt were appealing, doing his best to find a story authentic to the Hasidic culture. To say the least, the concept for the film came long before the plot developed, as Hasidic Jews weren't quick to talk to him about any film project.
Among the few who did at first was Menashe Lustig, who would go on to play the titular father. His interest in the film lead Lustig to serve as a gateway to other actors within the community. Weinstein emphasized that he wanted to go for authenticity, meaning no actor outside of the faith. It was an odd choice given that Weinstein didn't even speak Yiddish and relied on a translator on set. He also tried to avoid contemporary Yiddish, as he felt it would be too distracting. Still, Weinstein's talk with Lustig resulted in conversations about the man's life. A lot of the details would be put into the plot, making it an almost autobiographical film about Lustig. The new actor would read the pages and feel like Weinstein had just written his life down. Due to the authenticity of the project, most of the actors in the film were amateurs. This resulted in the script having to be precise, as improvisation wasn't a strong suit among the cast. Many backed out before filming even started for various reasons, mostly dealing with religion.
With Weinstein being a stickler for details, it became difficult to properly portray the characters when it came to public scenes. It was hard enough to shoot female actors, as the Orthodox Jews had a belief against seeing women act. Weinstein got around it by only portraying women whom Menashe had to talk to in daily life as family. As for the public scenes, Weinstein would post notes around that would tell strangers that they were filming. By some luck, this allowed things to go along smoothly. It was only in one scene involving a lot of pyrotechnics that Weinstein's shirt caught and fire and became full of holes. Beyond that, the film's shooting was fairly successful. Lustig claims that the film may help to start a group of filmmakers in the community, though he refuses to leave the community for Hollywood. He also joked that Menashe the film may be among the most pirated in the community for similar reasons.
The film played at Sundance in 2017 to positive reviews. There would later be a trailer for the film, which featured the song "Pashul" by Zusha. The film would gross approximately $1.7 million at the box office, though it ended up on Blu-ray in the United States through A24. The reviews for the film were some of the studio's most acclaimed. On critics aggregate website Rotten Tomatoes, the film received a 95% with many praising it for its authenticity. Peter Keough of Boston Globe reflected this positive reception by suggesting that "Weinstein brings a palpable authenticity (attributable in part to a cast made up of local non-actors) to this universally resonant story, rendering it unique and specific in a meticulously detailed setting." Adam Graham of Detroit News was also enthusiastic, claiming that "Menashe is a little slice of life, delivered with a knowing sense of truth." The few that disagreed sided with Alistair Ryder of The Digital Fix, who noted "There are welcome insights in to a culture largely ignored by society; unfortunately, they are married in to a domestic drama that slowly loses steam and never manages to overcome how boringly familiar its central scenario is." While the film didn't win many major awards, it was nominated for a Gotham Award and an Independent Spirit Film Award.
For what it was worth, Menashe was a film that could only be made by those passionate enough about the subject. Weinstein's ability to view the community with affection allowed him to make a film that resonated with audiences both inside and outside of the faith while allowing the Yiddish language to be used in some of cinema's most meaningful ways. It was a rare achievement, and one that may or may not lead to more perspective films about Orthodox Jews. Still, it was an interesting way to wind down summer for A24 before Oscar season started kicking into gear. However, there was one more thrill ride to come before then, and one that posited that yet another actor from the Twilight franchise was capable of being taken more seriously as an actor. It was a gritty film that would compete at Cannes and become another hit for the studio in its own dark and disturbing kind of way.
Up Next: Good Time
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