Beirut, 1982: a young Palestinian refugee and an Israeli fighter pilot form a tentative bond in their attempt to make their way across war-torn Lebanon back to their home.
One doesn’t doubt the humane intentions that lie behind Zaytoun, yet the result feels dramatically and emotionally unconvincing, and a step backwards from Riklis’s poignant allegory Lemon Tree.
The premise of this drama about a deal a Palestinian boy cuts with an Israeli pilot may be sweet, but it doesn't convince.
The humane characterisation of two natural-born foes is enhanced by Dorff and El Akal, whose darkly soulful eyes carry its burden of anguish. But its movement is terribly slow and unconvincing, particularly when so much feels at stake.
It’s unlikely to change anyone’s deep-rooted views on the region’s politics, but it’s an accessible and well-intentioned attempt nonetheless.
Politically a little watered-down, but the performances are strong enough to make it linger in the memory.
The storytelling may cleave a little too closely to Hollywood formula but the beautiful location work and performances add immeasurably to the authenticity.
More touching than overwhelming, Zaytoun is a well-meaning drama.
Eran Riklis
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