Gett: The Trial of Viviane Amsalem

This film from Israeli brother and sister writer-directors, Shlomi and Ronit Elkabetz, rewards in a number of ways: as a rare opportunity to observe the workings of an Orthodox Jewish religious court; as a portrait of an irretrievably broken marriage; and as an example of impressively economical film-making.

Under Jewish law divorce is only possible with the approval of a rabbinical court and the consent of the husband. And here’s the rub for Viviane. Not only does Elisha steadfastly refuse to give his consent but as a consequence of the astonishingly patriarchal bias of Jewish Orthodoxy, she is required by the court to demonstrate her willingness to compromise with her husband, her compliance with the court’s injunctions and even her moral purity whilst he is favoured as the wronged party.  We follow her battle over five years of hearing after hearing.  It’s a bizarre, Kafkaesque situation that recalls the stories of Isaac Bashevis Singer in capturing so accurately the absurdity of Orthodox pedantry. At times the film is very funny with witnesses praising the husband for his strict observance yet reluctantly acknowledging his impossible inflexibility.  When one of her secular friends berates the court for its ridiculous adherence to outdated values, Viviane herself cannot help but breakdown in laughter at the ludicrousness of her situation.

As a portrait of a relationship in crisis Shlomi and Ronit Elkabetz’s film recalls the fine 2011 Iranian drama, A Separation with its convincing description of fractured perceptions between a married couple. Although Ms. Elkabetz whom many will remember as a striking presence in The Band's Visit (2007) gives a smouldering performance, there is very little interaction between husband and wife, the various testimonies and lawyers’ presentations together deftly drawing Viviane and Elisha’s life together and their irreconcilable incompatibility.  

The film takes place in the courthouse, largely in a single room (I am not sure but I think the setting is France), the story being demarcated by titles giving the time line of the hearings across the five years.  As with any legal process, some scenes are short while in some points of view are presented and questioned in depth.  The script cleverly works the possibilities of the changing configurations to paint a portrait of Viviane’s situation in particular and in general the lot of women under Orthodox hegemony.  One hopes that any women in such a situation will find this film and draw strength from it.

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