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culture that has survived so many
challenges and spread all over the
world, and yet has preserved its
identity even though during centu-
ries [ Jews] were spread apart. That
was something so interesting to
explore. I wanted to know: What
was it that [gave Jews] the strength
to keep together, to prevail and
survive?”
Despite his admiration, Lelio’s
film also shows the darker side
of a community set in its ways. It
suggests that sometimes the same
forces that bind can also destroy.
None of Lelio’s protagonists emerge
from their experience without
wounds. The problem isn’t religion,
he said. The film’s conflict stems
from the messiness of the human
heart.
“What I tried to do is not make
the community the antagonistic
force, but to make [each character]
an antagonist,” Lelio said. “They are
their own main obstacles.”
Though Ronit and Esti set the
conflict in motion, ultimately
Dovid — the devout student and
rabbi — faces the direst conse-
quences. The fulfillment of his
spiritual role ends up demanding a
disobedience all his own.
“Everything that he stands for
and everything he has prepared
for is jeopardized,” Lelio said. “He’s
really facing a huge dilemma. And
it’s quite moving to see him strug-
gle with having the bravery to be
generous.”
Sometimes, Lelio said, the most
godly act requires the moral cour-
age to dissent.
“One of the main ideas of the
film is that there’s nothing more
spiritual than the power to disobey.
There is something pure in that.
Sometimes we have to disobey
in order to transcend, in order
to survive,” he said. “And there is
violence, and there is beauty in
that. And I think the film tries to
embrace both aspects — the light
and shadows of the price they have
to pay.”
The act of disobedience, Lelio
added, “suggests that a new order
is possible; a new balance is pos-
sible. Everything is evolving. And
even though the wisdom of tradi-
tion is capable of holding great
truth, it also has to be challenged.
Because even galaxies are evolv-
ing, the whole universe is evolving,
everything is in flux.
“And the beautiful love story
that takes place in this kind of an
environment [suggests] that there
is always room for expansion and
change.” •

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$

+++++++++++++++++++++++++

allure of religion.
“Even though I’m so far away
from the [Orthodox Jewish] real-
ity, I do understand the dynamics
of a culture where the weight of
religion can be strong and influen-
tial, and how that can create ten-
sion between what the community
needs and the personal quest for
individual freedom,” Lelio said.
To prepare for the film, Lelio
immersed himself in the mores and
values governing Orthodox Jewish
religious life. He sought to under-
stand what his characters risked
by transgressing those rules in a
gay relationship. Weisz, the Jewish
daughter of survivors and a pro-
ducer on the film, said in produc-
tion notes that Lelio approached
Orthodox Judaism as “a cultural
anthropologist.”
“I feel very lucky to have had the
opportunity to be in such a pri-
vate world,” Lelio said of the time
he spent with the North London
Orthodox community, in which the
film is set. In addition to working
with nearly a dozen consultants,
Lelio attended worship services
and Jewish ceremonies.
“I became really obsessed with
the culture in the process,” he said.
“I was really moved by the com-
munity, the music, the rituals.
When they open the ark, when we
see the Torah, I was like, ‘This is so
powerful!’ And the narrative [the
Torah tells] has been refined for
centuries. That is so beautiful and
effective, and I was attracted to it
because I am a narrative person
myself.”
McAdams, who plays Esti and is
not Jewish, has said she prepared
for the role by attending Shabbat
dinners with Orthodox Jews in Los
Angeles.
Likewise, Alessandro Nivola,
who plays Dovid, the heir-apparent
rabbi, has said that the research he
undertook to play this role was the
most interesting and rewarding of
his career, and that the friendships
he formed over Shabbat dinners
produced “friends for life.”
And yet, no matter how much he
and his actors prepared, Lelio said
the Orthodox community remained
enigmatic to them.
“There’s no way to really know
it,” Lelio said. “It’s very secretive
in a way, and I guess that’s what
was really appealing for me — the
possibility of creating these por-
traits that were taking place in
an unknown world with such a
precise system of beliefs, rules,
rituals, aesthetics, traditions and
music. [ Judaism] is such an old

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