Off White Lies (NR)

Directed by Maya Kenig, and the official selection of both the Berlin and Palm Springs International Film festivals, “Off White Lies” is not the type of film I usually rent, but one with which I was pleasantly surprised. The Israeli film, filmed in Native Hebrew but interlaced with American English, starts as a trial of father/daughter reconciliation, but becomes more, dealing with acceptance, forgiveness, and healing hurt and loss through family ties. As is usually the case with independent movies, it’s a film that deals more with dialogue and character development than plot, and offers a fairly engaging film for patient viewers who are able to sit through its subtitles and slow pacing for what’s there.

The film opens, introducing us to its two main characters, Shaul (Gur Bentwich) and Libi (Elya Inbar). Libi, Shaul’s 13-year-old daughter from California has been sent to live with her father in Israel as they have been apart for quite some time. Some of this backstory is later fleshed out with more detail – Shaul was not made wholly aware by his ex-wife that Libi was coming to visit, one of many ‘white lies’ that the film bases its title on. Shaul is an inventor, and is trying to market his latest creation – a smoke filter that inhales cigarette smoke so that smokers can enjoy their habit in public places or around other people. Shaul is “between houses” as he calls it. However, Libi is spunky and quick to catch on that Shaul is financially struggling and is actually homeless. “It’s a white lie,” Shaul offers. “It’s an off white lie,” Libi retorts.

With nowhere to go, Shaul convinces Libi that their best course of action is to leave their hometown and head north, posing as refugees to gain shelter from two subsequent families who take them in, a journey that sets the stage between the two for open communication, growth, and ultimately conflict as Shaul and Libi learn how to be father and daughter amidst a scheme to blend in under their less than honest cover story.

“Off White Lies” is a character driven story, and is a foray into the dynamics of fathers and daughters, especially ones that have been separated for quite some time. What works about the film, is that on the most basic level it examines the relationship between the two almost as though the two had never met; the past is discussed, in small pieces, and while we gauge there is possibly a hurtful backstory behind the separation of Shaul and his wife, this is never explored in favor of relationship building between Libi and himself.

There are two scenes in the film that show this marvelously. The first one occurs as they two are watching a home video where Shaul and his wife can be seen arguing, which he urges his daughter to turn off. A second shows Libi speak to her mom on the telephone, and though she has a perfect opportunity to tell her mother Shaul is homeless and get a one-way ticket home, she hides this secret to instead spend time with her father. Both scenes build rapport between the two, underscoring an unspoken desire by the two to mend bridges and make up for lost time.

The acting in the film is top notch, and even with the entire film being subtitled (with the exception of a few English catch phrases we hear exchanged between Libi and her mother), we get the impression of emphatic and believable acting between the two. As Shaul, Bentwich does a remarkable job, showing the uncertainty of trying to build a relationship with his daughter while also being her parent. There’s an energy to Shaul, particularly when talking about his inventions, that seems to have a life of its own, and is a credit to Bentwich that this energy comes off as a natural extension of himself rather than acting.

As Libi, Elya Inbar is spectacular, bringing a personality and charm to the role that is almost unexpected, especially given the fact that this is her first starring film role. Part spunky, part unsure of herself and her surroundings, Inbar manages to instill a curiosity and confidence in Libi that is splendid to behold. Early scenes, such as when she reconnects with her father are convincing and touching (most notably a scene where she discovers it’s his birthday and plays the only American song in the jukebox at a café, Supertramp’s “Give a Little Love” to celebrate), but later scenes, such as when she develops an attraction for an older boy, are equally poignant. “Off White Lies” is smart movie, and as such avoids the inevitable father/daughter arguments scenes like this would normally create. Tensions are raised, but a subtler, more honest conclusion is reached, part a credit to the screenplay by Kenig and co-writer Dana Diment, but a larger part due to the acting of Inbar and Bentwich and the rapport the actors clearly have with each other onscreen.

“Off White Lies” is a good film. Possible criticisms may lie in its slow pace, as well as the fact that a majority of its viewers will have to rely on subtitles to watch it. However, the character development created as a result more than makes up for this, along with great acting and storytelling. The film has a gentle and nudging pace, and even as the events towards its conclusion have the tendency to move toward a more dramatic end, the film wisely pulls back with a finale that serves to build Libi and Shaul’s relationship where a lazier film would have ruined it with drama or histrionics.

If you like foreign films, or are looking for a good, character driven story, “Off White Lies” is a safe movie to rent; but if faster paced or action filled movies are more your thing, you may want to look elsewhere.

– by Mark Ziobro