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Closure
 A window opens onto a courtyard. The sister is at the window and she is filming downstairs, into the courtyard that has become a garden, her brother, each one lives with their own family. Together, they form a larger family. The story begins right after the brother’s death, Udi. At the second-floor window, the sister, Anat, observes the confusion of immediate geography where intimate and historical issues are closely related and interact. Avis du sélectionneur Those who remember the recent Là-bas (2006) by Chantal Akerman will be
tempted to see a certain kinship emerge between the two films. But Anat
Even’s Closure is not about closing up, or even deliberate withdrawal as its
title could suggest. The familiar environment that the filmmaker films from
her window captures the changing measures following her brother’s death is
a stand on history. While huge modern buildings spring up around the bridge
in ruin built by the Ottomans, tourist guides evoke the glorious past of the
first Jewish neighborhood built on the outskirts of Jaffa. Between ruins and
concrete, from bereavement to the making of a film, once again the story’s
strength (and film form - Udi was both a sculptor and potter) is the essential
but fragile storytelling of what both constitutes it and haunts it, that is to say
by retaining the visible signs of the passage of people and things dissolved in
extensive changes and that over an entire region.
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