Veteran actors Niels Arestrup (A Prophet) and Lior Ashkenazi (Late Marriage) star as a father and son who struggle to reconcile their relationship in the Israeli-French film The Dune by first-time narrative-feature director Yossi Aviram.
In the film, Arestrup plays Reuven, a 65-year-old Parisian growing weary of a long career in the police force. When he meets a mysterious and spiritually motivated younger man by the name of Hanoch (Ashkenazi), a bizarre sequence of events are set in motion that will shape both of their futures. The Dune is an elegant and understated piece of fiction, equal parts mystery and family drama, meditating on the consequences of choosing a particular path at life’s crossroads.
FilmLinc spoke with Avarim shortly after his arrival to New York, where The Dune is screening as part of the New York Jewish Film Festival at the Film Society of Lincoln Center. He talks about the narrative's tie-in with a documentary he made a while back in Paris and why he dedicated The Dune to the two subjects in that earlier film, Paris Returns.
FilmLinc: What inspired this story? There are some parallels with your documentary, Paris Returns…
Yossi Aviram: I haven't thought about that film for a long time… [Laughs] Actually, The Dune was initially inspired by a true [incident] that happened in England. They found someone on a beach and they didn't know who he was. He didn't have identification either. In the hospital, he played the piano, so they just called him “The Piano Player.” This story caught my attention and then I mixed in stories from my own life. The Dune is also inspired by my uncle and his boyfriend. I made the documentary Paris Return about them. Their dynamic together served as the inspiration, not so much the broader story that [takes place in The Dune]. One of them is older, more serious, and is apt to be depressed, while the other is very optimistic and easy-going. They argue all the time, but you still feel that there is a lot of love there and their connection is deep. So I saw that dynamic when I created the characters Reuven and Paolo.
FL: I want to hear about your cast, especially Niels Arestrup and Lior Ashkenazi. How did you match them with these characters?
YA: Whenever there's a film in Israel, I feel like Lior's always in it. He liked the screenplay a lot. When he said, “Yes,” it was difficult to say “No.” I had some concerns because usually he's playing characters that are more light, but he's so charming… With Niels, my producers thought of him and suggested he be considered. I then looked back at his long list of films—he's done like 50. He has this great look and acting ability.
FL: You of course have a cinematography background and for The Dune, you worked with Antoine Héberlé. I thought it was a beautiful film with sweeping landscapes both in the Bordeaux area of France and seaside in Israel. I was struck by these wonderful vistas but often Reuven would be there. It gave a feeling of loneliness…
YA: Yes. For me, I like seeing people alone with big scenery. For me, I like the solitude on the one hand and this suggestion of a search for harmony. There's a great contrast. I like seeing this—with people lost in wide scenery and space. Tonally, I didn't really consciously choose it. I know there are slow parts to the film, but I think it's kind of personal intuition. The story has a melancholic aspect to it. It all seemed natural to me. Somehow all the things I do tend to be slow and depressing [laughs]. But the tone is really a reflection of preference and personality.
FL: At one point Reuven was talking about visiting Italy long ago and that's when he met Paolo who became his long-time partner. His reflection seemed like a bygone era of sorts. His love resulted in him having to leave his son. That experience may not be as usual today.
YA: Yes. When I made the documentary about my uncle and his boyfriend I was surprised. It is another generation. He'd talk about the ’50s and ’60s. In Israel, especially, it was another era. My uncle said, however, that from the outside things appeared to be more normal. But at the same time, it's as difficult as it was back then. My uncle does talk about it being a different era and I do hope that if something like what happened to Reuven were to happen today the experience would be different.
FL: You were, of course, born in Israel, but you've spent a decent amount of time living and working in France, correct?
YA: Fifteen years ago I lived in France for three years. I taught Hebrew and wrote screenplays, but I was still quite young… Later I made Paris Returns and then there was this disconnection with France. I started working in Israel, but then later found the [group of people] I work with now. I hope I will continue to work with the [production companies] that co-produced this film in France. In Israel it's very difficult to make a film without an [international] co-production. Money is very limited. There are many films made there now, but it's still crucial to get a co-production.
I studied very early in high school and of course at the time, the Nouvelle Vague was very influential, so that had a part in my approach to cinema starting out. When I went to Paris, I was excited to see all those films. It's hard to say exactly, but I'm sure there's been some of that influence.
I also did a short film called Anna for a few weeks a long time ago in Paris. Actually, my uncle plays a role in that film, too. After that, I told him that one day we'd make another film together. He told me that I needed to hurry because as he said, “I'm going to die soon.” And then we made the documentary. And The Dune is dedicated to [him and his boyfriend]. I'm very attached to them and they have influenced me a lot in their way of looking at life etc.
FL: The Dune played at the Haifa International Film Festival, where it won a prize. Has it opened there theatrically?
YA: Yes, it won a prize at Haifa, but The Dune hasn't opened in Israel yet. I don't see it as being a big film there. It's a [niche] film. In France it did pretty well. It received good critical response there.
