Modern anxieties: Ari Folman on Israel, digital acting and his plans to film ‘The Diary of Anne Frank’
Ari Folman has followed up his Oscar-nominated Waltz with Bashir with an even more extraordinary piece of work – “We’re going to break your mind. You’re going to enjoy it”
Green-screen dream: Robin Wright in The Congress
Ari Folman has arrived to talk about his extraordinary new film The Congress. There’s plenty to discuss. Adapted from a story by Stanislaw Lem – author of Solaris – the picture stars Robin Wright as a testy actor who, years after selling her image for digital exploitation, attends a Futurological Congress in a universe akin to that through which the Beatles’ Yellow Submarine travelled. Part live-action, part animation, the picture deserves substantial unpicking.
Unfortunately, given Folman’s background and the nature of his previous work, he knows that certain unrelated, ugly issues must be discussed first. Waltz with Bashir, his hugely praised 2008 animation, addressed the director’s early years as a conscript in the Israeli Army. In particular, it concerned his platoon’s reluctance to intervene during the Lebanese Christian militia’s slaughter of Palestinian civilians at Sabra and Shatila in 1982.
As we meet, new levels of mayhem are at work on the streets of Gaza. He knows more about the dynamics of these slaughters than most.
“My personal feeling is that I am very depressed,” he says. “For me, on a personal level, it is like a déjà vu. Every time there is a military operation, I get flashbacks to the time I was a soldier. Any waste of life is horrific. And the leaders on neither side respect human life. Nobody is trying to find a solution. Human life is the same.”
Has anything changed since he was in the army?
“A lot has changed,” he says. “When I was in the army, doubt was not an option. Today, doubt is part of life. It was a stupid war – like all wars – that I fought. But nobody doubted. Now I think soldiers ask themselves a thousand times: ‘is this necessary?’”
Sadly, Folman doesn’t believe that this questioning extends to the general public in Israel. Indeed, he asserts that the nation is now more right-wing than ever. One wonders how Waltz with Bashir went down in Israel. Politically, it’s a curious beast. The film’s main source of outrage may not be violence by the Israeli state. But it is loaded with sympathy for the Palestinian people. Despite securing a place in the main competition at Cannes and winning an Oscar nomination, the picture remained controversial in his home country.
“There were people who thought I had betrayed my country,” he says. “I was a collaborator. But a lot of people thought I was doing something that was opening young minds. It was split. It’s not like that now.”
That’s depressing. He means that there is less tolerance? That the country is more rightwing?
“You know that’s the case! It’s getting more and more right-wing. You are writing for The Irish Times? Well, you know that.”
No Israeli, however hard-line, could question the integrity of Ari Folman’s heritage. Born in 1962, he is the son of two survivors of Auschwitz. As he tells it, his father spoke somewhat too little and his mother somewhat too much about their experiences in the camp. (There are lessons there about the different ways men and women deal with extreme trauma.) “By chance”, his mother managed to escape from the death march out of Auschwitz in February 1945.
“She is 92 and in the autumn we are going to do the same walk that she did in Poland. Me, her and my sister,” he says. “She’s not going to do the whole thing obviously. It was over 100km. She’s been to Poland many times.”