THE COUSIN

Israel, 2017, 93 minutes, Colour.
Tzahi Granted, Ala Dakka, Osnat Fishman.
Directed by Tzahi Grad.


The implication of the title is that Jewish and Arab peoples both descended from Abraham, the Jews from the legitimate son, Isaac, the Arabs from the son of the servant, Ishmael, are cousins. This film serves as something of an allegory about relationships, deep antipathies, possibilities for reconciliation.

The basic story is quite simple, a theatre director wants workers to repair the studio that he has rented. He seeks the advice of his Arab gardener who recommends a brother, with an alternate worker turning up. Relationships between the two are generally formal but not disagreeable, the worker having some expertise, not just in repair but also in IT. They go to a store to get material for the repairs.

In the meantime, we see the theatre director, his wife and children and their lifestyle.

When news comes that the niece of the store owner has been sexually assaulted, assumptions are made that it is the Arab who is guilty. The film illustrates immediate presumptions after suspicions, and touches of a lynch mentality. For some time the theatre director defends the worker, then deep-seated antipathies surface and he attacks him, later relenting, allowing him to stay in his house, then confronting those attacking the worker, eventually forcing the truth to be expressed, the Arab worker being entirely innocent.

The film has the device of the director making a clip for television about peace and reconciliation between Jews and Arabs – the worker saying that it was a bit simplistic, the Israeli producers saying that this could never be shown on prime time television.

The hope would be that this film contributes to mutual understanding.


1. The title? Political implications? Israelis? Palestinians? Arabs? The background of descent from Abraham, Isaac and family, Israel and the servant, Hagar?

2. The theme of the building? Naftali and his plans? Young ideal and her decisions? Design, architects, workmen?

3. Israel, the landscapes, outside the city? The hills, roads? Homes? The musical score?

4. Naturally, the recommendation from his gardener, the heads arrival, Naftali and his being wary? The house, the need for repairs, the roof, the floor, painting…? Far ahead and his expertise, Naftali believing him or not? The audience sharing this wariness? Fahed and his expertise with the finding of files online?

5. Going to the store, the owner, the young girl, the nephew? The later revelation about the assault? Assumptions about Fahed, suspicions of Arabs? The girl not identifying her assailant? The intervention of the police?

6. Naftali, the bonding with Fahed, the men coming to attack far ahead and Naftali warning them off? The later returning, brutality? The neighbours and their assembling, the woman and her deep suspicions and expressing them?

7. Naftali at home, with his wife, her hesitations? The children, meeting Fahed, discussions with him, the map? The bonding? The background of Israelis and Arabs being cousins?

8. The mounting evidence, Fahed having returned to the store? Naftali and the pressures, his becoming suspicious, verbally attacking Fahed?

9. His changing his attitude, defending Fahed, letting him stay the night, suspicions during the night, Fahed going to the toilet, having something to eat, the children waking?

10. Naftali bumping his wife, no electricity, her going to hospital, the police suspicious?

11. Naftali taking a stand, with the gun, warning people off? Wanting to get the evidence, the owner of the store, Naftali hitting him, his admitting the truth about his nephew, the
girl admitting the truth?

12. Naftali, his background, director, animator, the video promoting peace, the producers and saying it could not be shown on prime-time television?

13. The film at serving as an allegory about Jewish and Arab relationships – and the possibilities for reconciliation?