New Book for Cannes Film Fest at 80! (2027)
Caméra d’Or Winning Films (1978-Present)
The film was powerful enough to impress the jury at the 2004 Cannes Film Fest, where it won the Camera d’Or, which honors best first films.
Despite the fact that filmmaker Karen Yedaya defines herself as a feminist and political activist, strangely, “Or” is devoid of any politics–sexual politics or even economic politics of prostitution as profession.
Instead, the film is an extremely well-acted two-handler melodrama that, as tough as it is, describes in detail, but does not really illuminate, the oppressive nature of prostitution.
Yedaya’s first feature continues to explore in a bare realistic mode themes set forth in her earlier shorts. The story’s lead character is Ruthie (Ronit Elkabetz), a working-class woman in her 40s, who lives with her daughter Or (Dana Ivgy) in a tiny Tel Aviv flat.
Or (which in Hebrew means light) begs her down-and-out mother to change her life. After spending twenty years earning a living as a prostitute, Ruthie finally listens to Or’s pleas and takes a job as a cleaning lady in an upper-class house.
Though overcome with joy at her mother’s decision, Or herself alternates between mindless jobs—washing dishes in a restaurant, cleaning staircases, collecting deposit bottle. However, she spends most of her time taking care of her mother’s need. For a short while, their lives seem improved.
Most of Or is set indoor, within the tiny, cluttered apartment, creating a claustrophobic feeling. It’s hard to recall a film that delved so deeply into the psychological dynamics of mother-daughter relationships, and portrayed in such graphic detail the lifestyle of a prostitute. The day-to-day work, the physical exhaustion, the brutal treatment by men, the cleaning up, and so on. For these scenes, Yedaya employs a kitchen sink realism that’s grim and often moving.
What adds comlexity to the tale is that the two femmes are engaged in a role reversal: It’s Or, who’s more grounded, who takes on the protective part, usually assumed by mothers in their relatinships with younger children.
In the film’s good moments, the two women share strong intimacy, treating each other as equals. Whether showering together or sleeping under one blanket, Ruthie and Or grow to be inseparable. When they are together, their emotions stay solid, grounded, and intertwined.
However, as poverty and depression slowly reenter their lives, Ruthie goes back to the streets of Tel Aviv’s shabby neighborhoods. Her decision influences Or, who, meanwhile, has fallen in love with their neighbor’s son, but is forced by the boy’s mother to keep distance from him.
Ultimately, it is Ruthie who bears the biggest risk, since she has turned prostitution into a self-destructive path. The end is extremely touching and depressing. Disillusioned with her own life and unable to change her mother’s path, Or is now willing to do anything in order to improve their situation.
I have not seen Yedaya’s shorts, “Elinor” (1994), “Lulu” (1999), and “Les Dessous” (2001), to be able to reassess her evolution as a director.
Yedaya’s intent is clear. She aims at drawing parallels between the devastating impact of prostitution on the women who follow that path, and female oppression in Israel as a male-dominated, militaristic society. But, as indicated, her goal remains abstract and more of an agenda than reality in what unfolds on screen.
About Yedaya
Born in 1972 in the U.S., Karen Yedaya grew up in Israel, where she graduated from the film school Camera Obscura. Politically active, she has been touring the country with her short film, “Lulu” (1999), also about prostitution, as part of an ongoing outreach and educational program.
New Book for Cannes Film Fest at 80! (2027)
Caméra d’Or Winning Films (1978-Present)
Alambrista! (1978), US
2. Northern Lights (1979), US
3. Adrien’s Story (1980), French
4. Desperado City (1981), West German
5. Half a Life (1982), French
6. The Princess (1983), Hungarian
7. Stranger Than Paradise (1984), US
8. Oriana (1985), Venezuela
9. Noir et Blanc (1986), French (woman)
10. Robinsonada or My English Grandfather (1987), Soviet-Georgian
11. Salaam Bombay! (1988), US-Imndoa (woman)
12. My 20th Century (1989), Hungary (woman)
13. Freeze Die Come to Life (1990)
14. Toto the Hero (1991), Belgium
15. Mac (1992), US
16. The Scent of Green Papaya (1993), Vietnam
17. Coming to Terms with the Dead (1994)
18. The White Balloon (1995), Iran
19. Love Serenade (1996), Australia (woman)
20. Suzaku (1997)
21. Slam (1998), US
22. Marana Simhasanam (1999)
23. Tie: Djomeh (2000); A Time for Drunken Horses (2000)
24. Atanarjuat: The Fast Runner (2001)
25. Seaside (2002)
26. Reconstruction (2003)
27. Or (My Treasure) (2004), Israel (woman)
28. Me and You and Everyone We Know (2005), US (woman)
29. The Forsaken Land (2005)
31. 12:08 East of Bucharest (2006), Romania
32. Jellyfish (2007), Israel
33. Hunger (2008), UK (Black)
34. Samson and Delilah (2009)
35. Año bisiesto (2010)
36. Las Acacias (2011)
37. Beasts of the Southern Wild (2012), US
38. Ilo Ilo (2013)
39. Party Girl (2014)
40. Land and Shade (2015)
41. Divines (2016)
42. Montparnasse Bienvenue (2017)
43. Girl (2018), Belgium (Gay director)
44. Our Mothers (2019)
45. Murina (2021)
46. War Pony (2022), US (woman)
47. Inside the Yellow Cocoon Shell (2023)
48. Armand (2024)
49. The President’s Cake (2025)
50. ? (to be announced May 24, 2026)
