Shemi Zarhin, an acclaimed Israeli director and novelist, is preparing for the international premiere of his latest film, Bliss (Hemda), at the Toronto International Film Festival (TIFF) amid a backdrop of immense uncertainty caused by the ongoing conflict between Israel and Gaza. As the war, which began in October 2023 following attacks on southern Israel, continues to ravage the region, Zarhin finds himself grappling with the stark realities that have reshaped both his country and his career.
“I can’t explain my people. I can explain nothing,” Zarhin shared during an interview with The Hollywood Reporter, underscoring the difficulty of addressing the deeply rooted Israeli-Palestinian conflict in both his films and within Israeli cinema as a whole. While Bliss (Hemda) was conceived and shot before the current war erupted, the film does not directly address the political situation. Instead, it focuses on the struggles of an aging couple, Sassi and Efi—portrayed by Sasson Gabay and Assi Levy—who are overwhelmed by family issues as two men unexpectedly re-enter their lives, threatening their fragile marriage.
Zarhin was in the final stages of post-production when the events of October 7 unfolded, shaking him to his core. He admitted that he lost interest in completing the film amid the devastation that had overtaken his homeland. “I was so devastated by what was happening, and I had no interest in the film,” he recalled. “But I couldn’t let down the dozens of people that worked on it. This is their living, so we continued to work.”
Completing Bliss (Hemda) was not only emotionally challenging but also physically difficult, as many of the filming locations in northern Israel were bombed and destroyed by Hezbollah missiles fired from southern Lebanon. Zarhin grew up in the Upper Galilee region, where parts of the film were shot, and he reflected on how the once familiar locations now bear little resemblance to their former selves. “Most of them were evacuated of people, so they look like Westerns,” Zarhin said, referring to the now deserted areas. He also noted that a central community center and swimming pool used as key filming locations were entirely destroyed, making the film a poignant time capsule of a place that may never return to what it once was.
Despite the film’s relevance to current events, Zarhin rejects the idea that Bliss (Hemda) serves as a commentary on the Israeli-Palestinian conflict. “I don’t think films have to obey reality. I think our purpose, our mission, in a way, is to stretch the limit of reality and make what is impossible, possible,” he said, emphasizing that his film focuses on universal themes of family and relationships rather than political, ethnic, or religious divisions.
However, Bliss (Hemda) has been met with a colder reception in certain quarters, a shift Zarhin has noticed compared to earlier successes like Passover Fever, Aviva, My Love, The World Is Funny, and The Kind Words, which played at TIFF in 2015. He recalled the emotional response at the Israeli premiere of Bliss (Hemda), where audience members from the region where the film was shot were moved to tears. “They just sat there and cried, because they looked at their homes. And it was a message from a very, very old past which doesn’t exist anymore,” he said.
While Israeli films, like Zarhin’s, have encountered growing resistance at international festivals, the director is frustrated by what he sees as knee-jerk judgments and a reluctance to engage with the nuanced reality of his homeland. “Picking a side is easier than picking a restaurant,” he remarked wryly, reflecting on how polarized global audiences have become in response to the Israeli-Gaza conflict.
In this context, the invitation to screen Bliss (Hemda) at TIFF was unexpected but welcome. Zarhin expressed hope that the film’s international premiere could reverse the trend of Israeli films being shunned by major festivals. “They don’t want us anymore, and this [TIFF invite] could break the curse,” he noted. Encouragingly, the film’s inclusion in TIFF has already sparked interest from international distributors and festival organizers. “Suddenly, a lot of buyers were writing us and asking for a movie link and even suggesting terms for a deal,” Zarhin revealed.
As Bliss (Hemda) makes its debut on the international stage, Zarhin remains cautiously optimistic that the film’s deeply personal narrative and emotional resonance will transcend the political turmoil currently surrounding Israel, allowing his work to find an audience far beyond his homeland.
The Toronto International Film Festival runs through September 15, offering Bliss (Hemda) and Zarhin the opportunity to connect with viewers across the globe.
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