When a film dares to tackle the aftermath of a national tragedy with a darkly satirical lens, it's bound to spark conversation. And Nadav Lapid's new movie, 'Yes,' is certainly doing just that.
While it premiered at Cannes back in May 2025, 'Yes' is now making its way to the United States, offering audiences a cinematic experience set in Israel in the immediate days following the October 7th attacks. From what we've seen in its recently released trailer, the film promises a maximalist and disorienting journey through a nation grappling with profound events.
Let's dive into what 'Yes' is all about, according to its official synopsis:
In the days following October 7, Y., a jazz musician, and his wife Yasmin, a dancer, resolve to say yes to everything. Y. and Yasmin sell their bodies and souls to the highest bidder, surrendering themselves and their art to Israel’s social, political and military elite. Soon, Y. is entrusted with a mission of the utmost importance: to compose the music for a rousing, ruthless new national anthem. Feverishly whirling between moments of satire, sincerity, and complete submission, Yes is a visceral, blistering indictment of modern Israel, and an essential addition to post-October 7 cinema.
This description alone paints a picture of a film that isn't shying away from complex and potentially controversial themes. The idea of artists surrendering their work to political and military elites, especially in the wake of such a sensitive event, is certainly a provocative concept. But here's where it gets particularly intriguing: the film centers on the creation of a new national anthem. Imagine the artistic and emotional weight of that task, especially when the synopsis hints at a "ruthless" composition.
'Yes' had its grand debut at the Cannes Directors’ Fortnight on May 22nd and has already been released in France. For those in the U.S., mark your calendars: the film is set to open in New York and Los Angeles on March 27th, with a wider national release to follow in the subsequent weeks. This is the part most people might miss – the deliberate timing and the specific locations for its U.S. debut.
The film's premise, exploring the surrender of art and identity in a time of crisis, raises some serious questions. Is it possible for art to truly remain neutral when faced with such intense political and social pressures? And what does it mean for a nation's identity when its anthem is born from such a complex and, as the synopsis suggests, potentially compromised creative process? I'm really curious to hear your thoughts on this. Do you believe films like 'Yes,' which tackle such sensitive topics so directly, serve a vital purpose in societal reflection, or do you think they risk overstepping boundaries? Let me know in the comments below – I'd love to discuss!
