During the Fortnight of Directors at Cannes 2025, Nadav Lapid presents his bold film titled Yes, captivating attention with its audacity and committed message. With a runtime of 150 minutes, this work promises to mark a turning point in the Israeli cinematic landscape. Founder of powerful and conflictual narratives, Lapid establishes himself as a resolutely engaged creator while delving into a profound analysis of the tensions that shape contemporary society. Yes is not just a film; it is a cry of acquiescence in the face of a chaotic world, an exploration of the political and personal issues that resonate strongly on screen.
Cannes 2025: Nadav Lapid asserts his commitment with “Yes”
Nadav Lapid’s feature film “Yes”, presented at the Fortnight of Directors in Cannes 2025, is more than just a film; it is a bold statement by the Israeli artist. With a runtime of 150 minutes, the work stands out for its provocative and often disturbing approach, where themes of renunciation and despair are central. Lapid is committed to exploring the fractures of Israeli society while reinventing the codes of cinematic storytelling.
A cry of acquiescence in a world of renouncements
To title his film “Yes” is audacious. This title, both simple and complex, symbolizes a troubling acquiescence in a heavy sociopolitical context. Nadav Lapid seems to want to seduce and shock the audience, bringing viewers face to face with their own contradictions. The provocation emanating from this project is palpable from the first images, captivating the audience with an unbearable and intoxicating aesthetic.
The visual elements testify to a struggle for expression. The acid neon, the techno-jazz music, and multiple cinematic references follow one another, intertwining and highlighting the gap between art and Israeli reality. This euphorically chaotic blend depicts the challenges posed by everyday life, shaking up conventions.
A contemporary epic on the ruins of Israel
The film presents itself as a sort of modern epic, where the characters are not merely human beings but allegorical figures embodying deep concepts. The pianist Y. and the muse Jasmine, for example, are manifestations of Art, Desire, and Submission. This approach reinforces the idea that the individual is embedded in a larger societal fabric, filled with contradictions and conflicts.
Rather than focusing on narrativized adventures, Lapid concentrates on the intellectual dialogue embodied by his characters. The scenes, which follow one another with irregular frenzy, often convey a struggle between conflicting ideas. Thus, the work becomes a reflection of our time, marked by multiple crises.
Aesthetic and chaos: a form of mental warfare
With “Yes”, Lapid embraces chaos to illustrate the complexity of human emotions. His film is not viewed as ordinary fiction but is experienced as a collective crisis. Each sequence is a battle, an explosion of images and sounds that destabilize reference points. The abrupt transitions and sound distortions create a sense of urgency, mirroring an inner conflict.
The collaboration with director of photography Shaï Goldman offers a rich and innovative cinematic language. The use of technology, such as drones and thermal cameras, adds a unique dimension to the narrative. This enhances the feeling of immersion at the heart of a chaotic world.
A symbolic title: the surrender of the artist
In this film, Y., who appears as a double of the artist himself, is a complex anti-hero. He embodies neither rebellion nor betrayal but rather a form of willing collaboration with an oppressive power. This character reveals the existential dilemma of contemporary artists. Is it still possible to remain true to one’s ideals in such a charged context?
The yes that Y. pronounces is a weighty admission, an act of capitulation to external expectations. It is not an affirmation but a painful acknowledgment of renunciation. Underscoring this, Lapid questions the capacity of art to resist such adversity.
Cinematic material of Israel: between legend and reality
The fruit of a reflection on Israeli identity, “Yes” fits into a lineage of contemporary works seeking to redefine storytelling. It establishes a parallel with past artistic movements while integrating current realities and crises. The question of engagement is ever-present, that of art in the face of a tumultuous society.
Lapid’s attempt, through this film, evokes a poetics of conflict. By integrating elements of fiction and reality, he invites viewers to reflect on the very nature of art in a world that often seems absurd.
Cannes 2025: Nadav Lapid asserts his commitment with “Yes”
The Cannes 2025 festival was the scene of a bold affirmation by filmmaker Nadav Lapid with his latest film, *Yes*. Presented at the Fortnight of Directors, this 150-minute feature acts as a cry of despair in the face of the political woes and multiple crises shaking contemporary Israel. By choosing such a provocative title, Lapid invites the viewer to consider a “yes” that translates not into affirmation but into a tragic surrender, thus revealing the complexities of art in a war-torn world.
Through *Yes*, Lapid relies on a daring aesthetic to illustrate the fragmentation of Israeli society. The film deviates from traditional narratives of heroes seeking redemption to explore the darkest facets of artistic collaboration and voluntary servitude. Each scene is a visceral representation of bodies and minds in suffering while maintaining a critical distance towards its main characters, allegories of art, memory, and power.
By tackling such sensitive subjects, Lapid reminds us that the role of the artist is to question the world rather than conform to it. The innovative technique used in the film, from thermal cameras to hybrid formats, emphasizes this urgency. Thus, *Yes* becomes a cinematic material in its own right, a space of contradiction and debate, questioning our relationship with art in a world where disillusionment and fracture seem ever-present.
