{"id":8745,"date":"2014-05-21T00:49:56","date_gmt":"2014-05-21T00:49:56","guid":{"rendered":"https:\/\/harissa.com\/news-wp\/?p=8745"},"modified":"2014-05-21T00:52:16","modified_gmt":"2014-05-21T00:52:16","slug":"gett-ou-lhistoire-dun-divorce-impossible-en-israel","status":"publish","type":"post","link":"https:\/\/harissa.com\/news-wp\/gett-ou-lhistoire-dun-divorce-impossible-en-israel\/","title":{"rendered":"\u00ab\u00a0Gett\u00a0\u00bb, ou l’histoire d’un divorce impossible en Isra\u00ebl"},"content":{"rendered":"

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\n\t"Gett", ou l'histoire d'un divorce impossible en Israël<\/p>\n

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\n\tPrésenté à la Quinzaine des Réalisateurs le formidable film de Ronit Elkabetz et de son frère cadet Shlomi, montre pour la première fois les tribunaux rabbiniques israéliens au cinéma.<\/p>\n

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\n\t\t\tTrois films, trois huis-clos. "Prendre femme" cueillait Viviane (Ronit Elkabetz), coiffeuse au teint pâle, aux yeux baissés et à la crinière de lionne, dans son appartement de Tel-Aviv : elle ne supportait plus la cohabitation avec Elisha, son mari (Simon Abkarian) et affrontait une cohorte de mâles menaçants – père, frères, rabbin, amis – tous acharnés à la faire rentrer dans le rang.<\/p>\n

\n\t\t\t"Les Sept Jours", ancrés en 1991, pendant la première guerre du Golfe, enfermait, sur fond de sirènes d’alerte, Viviane et les siens dans une vaste demeure, périmètre propice aux règlements de comptes, pendant les sept jours réglementaires suivant un deuil familial. "Gett" confronte Viviane à un tribunal rabbinique, dont nul ne sortira pendant une heure cinquante-cinq.<\/p>\n

\n\t\t\tElle y demande enfin le divorce d’avec Elisha, processus incertain et houleux qui va prendre des mois. Viviane, vaguement inspirée de la mère des réalisateurs mais aussi de toutes les femmes en guerre contre un environnement patriarcal et répressif, est interprétée depuis 2004 par Ronit Elkabetz, masque nô et gestuelle volcanique, qu’on compare avec raison à Falconetti, à la Callas ou à Magnani.<\/p>\n

\n\t\t\tTribunal rabbinique<\/strong><\/p>\n

\n\t\t\tLe dispositif du Bressonnien "Gett" est d’une simplicité confondante : d’un côté Viviane, de l’autre Elisha, assis à des tables d’écoliers, avec leurs deux avocats (celui de Viviane la désire visiblement, celui d’Elisha ergote) dans la salle d’audience. Face à eux, sur une estrade en surplomb pour bien signifier leur position dominante, les trois membres du tribunal rabbinique.<\/p>\n

\n\t\t\tEn Israël<\/a>, lorsqu’une femme accepte d’épouser un homme, elle est aussitôt privée du "guet" de divorce, et doit remuer ciel et terre pour rompre les liens du mariage et retrouver son indépendance. Seul son époux, qui a le droit de son côté, peut la libérer.<\/p>\n

\n\t\t\tViviane veut obtenir ce divorce à tout prix. Elisha s’obstine à le lui refuser. Quant aux rabbins, ils essaient de gagner du temps sous les prétextes les plus absurdes pour éviter la catastrophe "nuisible à la société" que représente encore, pour le pays, l’éclatement d’un foyer. "Prendre femme", succession de gros plans, plaçait Viviane face à elle-même. "Les Sept Jours", en plans larges, la mettait face à la société (le clan). "Gett", tourné des différents points de vue des protagonistes, l’enserre entre les quatre murs d’un univers de plus en plus rétréci, où elle doit affronter une loi inique et pervertie.<\/p>\n

\n\t\t\tMagnifique plaidoyer<\/strong><\/p>\n

\n\t\t\tDans les premières séquences du film, Ronit et Shlomi Elkabetz ne montrent pas Viviane, elle n’apparaît qu’au mot "non". Elle vient, en effet, d’être déboutée dans ce drôle de procès qui ne respire pas la plus grande des objectivités.<\/p>\n

\n\t\t\tLe film la force à se battre : c’est alors un western muet de regards expressionnistes entre elle, magnifiée dans ses peines muettes comme dans ses rares débordements, et Elisha. "Des scènes à la Sam Peckinpah, mais à huis clos", commentent les réalisateurs. Il la force aussi à se surveiller : sa voix pèse peanuts, elle se sait colérique, braillarde, incontrôlable, et les rabbins s’empressent de lui clouer le bec à la moindre occasion.<\/p>\n

\n\t\t\t"Gett" alterne les tons (abattement<\/a> ou révolte, tragédie et farce passée au brou de l’humour noir) et fait appel à une kyrielle de témoins qui dressent un portrait de la société israélienne et prennent le spectateur à témoin: compagnons de synagogues d’Elisha convaincus de l’infériorité des femmes, voisine de Viviane prisonnière de clichés, couple d’immigrants venus des pays arabes cadenassé dans leur mode hypocrite de conduite et de pensée.<\/p>\n

\n\t\t\tEntre rage contenue et frustration, combativité et abdication, Ronit Elkabetz, qui, de "Mon trésor", de Keren Yedaya, à "Alila", d’Amos Gitaï, milite dans presque tous ses films contre les archaïsmes, est géniale de bout en bout. "Gett" se termine sur un plan de ses pieds. A demi-victorieuse- mais à quel prix ? – elle marche enfin vers cet avenir qu’il lui faudra demain construire.<\/p>\n

\n\t\t\tSophie Grassin – Le Nouvel Observateur<\/p>\n<\/p><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    "Gett", ou l'histoire d'un divorce impossible en Israël     Présenté à la Quinzaine des Réalisateurs le formidable film de Ronit Elkabetz et de son frère cadet Shlomi, montre pour la première fois les tribunaux rabbiniques israéliens au cinéma.   Trois films, trois huis-clos. "Prendre femme" cueillait Viviane (Ronit Elkabetz), coiffeuse au teint… <\/p>\n","protected":false},"author":2,"featured_media":18928,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"","neve_meta_content_width":0,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","footnotes":""},"categories":[33,35,1],"tags":[],"class_list":["post-8745","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cinema","category-tel-aviv","category-uncategorized"],"yoast_head":"\n"Gett", ou l'histoire d'un divorce impossible en Isra\u00ebl | HARISSA.COM<\/title>\n<meta name=\"description\" content=\"Pr\u00e9sent\u00e9 \u00e0 la Quinzaine des R\u00e9alisateurs le formidable film de Ronit Elkabetz et de son 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