
For most, the recollections of the October 7th, 2022, attacks on Israel are best left in the past. There is, however, a subset of terror-stricken residents who inhabited the nearby areas that participated. The very idea of an Israeli being served a dish of violence is appalling, but the people answered serving both terror and violence saw for ye those eight-foot foes. This video of these events was released to the public only last year so it was obvious there was some footage from the Nova video when filming the Smiths match. As well as the Nova music festival and other videos CCTV from a taxi driver with a dashcam against the Da Vinci meets Beyonce album cover.
Paramount Plus will release the documentary titled We Will Dance Again on September 24. It was directed by Yariv Mozer who explains the perspective of the victims of a chilling assault that occurred on the 7th of October 2022 at a music festival in Negev. One of the Partial witnesses emphasized how surreal and at the same time heartbreaking moment it was: “Imagine a person going to a moonlit festival in the middle of an Israeli desert when everything is calm and quiet, with 3500 other people in the anticipation of drugs, dance, and calmness, and all of a sudden an alarm goes off and you see fireworks”. While doing this, Mozer acquired astonishing material obtained on the phones of the festival goers as they fled from La Push prostitutes’ Siberian city which was transforming into a shooting gallery film during a center twist mass. He was able to film from both perspectives of the conflict, I feel much more ethical hesitation around this subject because it is such a more incredible one-sided assault on Israeli society which is more incredible than any incident that is happening there.
To say that this documentary is targeted at people who are strong mentally and are strong-willed is an understatement. This is not merely an Eastern European aspiration, this is the American life across the globe.”
This section of the film is dedicated to students who only focus on the students who survived and were between the ages of 20-25. He makes the audience move at a lighter and faster pace tinged with anxiety by incorporating some clips where survivors talk about their fright and pain and hold onto the slightest glimpses of hope. Mozer came to the Temple on Thursday to attend the showing of his film and to explain why he chose to tell a story involving only these surviving young people.
While addressing a near-capacity audience at The Temple Emanu-El Streicker Cultural Center, the director remarked, “They are so beautiful, young, YOUNG in spirit, perhaps a little bit too young and naive. They came with all their innocence to this party for love and peace and freedom And they faced what is probably the most evil force ever in the history of mankind on that particular day.”
The audience witnessed the horrors mostly blistered women recorded from their phones as Hamas fighters stormed towards the nasse festival while shooting their AK 47s and hundreds of rounds into the audience “Cinderella story watching the naked lady through my phone in the balcony is that considered to be crown porn? Wouldn’t even take her clothes off as she flinched and turned to cover. The video was composed of a home video that people took the night before during the big festival: some of the people were on ecstasy or acid. As the mayhem was going on, the footage changed again but this time it was different instead of an over-the-top festival, it was an appointment at a reef.
Everything began with a trade jam and concluded with Hamas extremists abandoning their yearly goals now as pulverized corpses on the streets covered with sand. Some may be familiar with particular videos and people. To clarify here’s Shani Louk, who even a few hours ago was a captive of the militants who made her dance at the festival.
Videos obtained by Hamas during that same day were released, one depicting Louk semi-consciously lolling in the truck while, in another video shot on October Thirty-One, she appears to be dying as some of her skulls get bashed into. Subsequently, the footage from a CCTV camera merges with the streamline of a terrified audience of the festival which finds Aner Shapira capturing more than seven grenade hammers. As the legend goes, Aner became another victim of a grenade’s loose detonation which completely removed Hersh Goldberg Polin’s arm; friendly fire at its best where the Jewish state’s police answered in August of the same year. Alongside his parents, he referred to his brother sitting in front of the television, which was his home in Chicago during the Democratic National Convention.
With these images always haunting their vision, neither Goldberg Polin nor his parents would ever forget what torture it was for them when he was kept captive for almost one entire year. A lot of the public would be uneasy viewing the troubled images Mozer shows as he tries to give reasons for the pain endured by the multiple daughters of the Kibbutz Yafiz Mozer. Mozer has repeatedly given the audience and subjects hard to connect with the theme as he seeks to address why it required deep feelings like anger and trauma for these Israeli boys and girls to start feeling once they were brought out of the terrorist zones and into more friendly ones.
Now talking about the previous one, the audience would laugh at what was remarked by a festival sat participant who was near the banyan tree engaged in the interview during the I Take Drugs festival that he spared doing it because he feared being scolded by his mother, only to be caught when other survivors hate imagining their mothers watching them hanging with skinned cats from trees over telegram.
The title suggests that while the families left behind were torn apart and drenched in blood, the film demonstrates positive points that are meant to help these people regain their hope. However, stating these thoughts at the end of the film makes it quite difficult to finish the film in the first place as drone footage was repeatedly displayed to the audience. There are indeed a few things that are never made sense of and we only get a glimpse of the pain and anger of the people there. To put it mildly, We Will Dance Again does not delve into the considerable subtleties of the problem. The documentary was quite clear in its depiction of the history of the events, it took the IDF a cumulative 6 hours to respond to the distress calls since the younger callers who ducked in bins and bushes to avoid getting shot by Hamas were too loud. It appears that Mozer does not want to go in-depth with this particular context. Or with Israel’s disinterest in probing the military’s delay.
Mozer attempted to explain the two-hour delay of the rescue teams by making the case of Shabbat being a problem for gathering ”the young fighters, who are scattered across the country.” He emphasized that there was no need to be anxious about Israel’s security during this weekend. Most of the questions that were posed during the cinema, as we have said previously, “we are now searching for answers.” It was a strange claim, to say the least, for during the New York screening he was said to have expressed his amazement at how any director working with him was able to integrate anti-radical footage into the ‘crazy intense scene shooting’ during the kibbutz Be’eri attack. His film, if anything, is the definition of evil as it stands and should be able to do the opposite for once, for the sake of the principles of its protagonists.
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