mikeseeemail In my mind, this movie was well acted, but I just can't get over one major plot hole that for me turns this movie into a work of total make believe. Please read the other reviews for a recap of the story line. I understand Eyad borrows his friend Yonatan's identity so he can find a better job, and he does. Yonatan's mother discovers the "borrowed identity" and is okay with it.So far, even I am okay with it. But, people do not live totally in a bubble, especially in Israeli society. Yonatan's mom must have some other relatives who are concerned about her son's health. And even if there is not one relative, Israeli neighbors can be quite close. Not one neighbor inquires about Yonatan? Not one other classmate cares to ask about Yonatan. According to this movie, the mom and Eyad (now Yonatan) conspire to get Yonatan buried as Eyad. Yes, of course, I should have seen this coming. This Jewish mom allows her son to be buried as Eyad. No family members or neighbors attend, because the burial is not in Israel, it is in Fantasyland.I do want to say this movie does some good things. It looks at relationships and beliefs and family pressures both Jews and Arabs face. It shows Jews and Arabs do get along on certain levels. Some of the characters were a bit cartoonish for me, but others were done with compassion and thought. It is a difficult subject, but I simply cannot get past the permanent identity change and the burial scene.

kolnoaMograbi Wow. Not only is the script a seamless combination of Sayed Kashua's two novels (Second Person Singular and Dancing Arabs), but it's seamless in its own right. Eyad is such a sensitive character, as is Edna; both elicit our sympathy without our pity -- especially when Eyad "goes entrepreneurial" at school, capitalizing on his ability to straddle two worlds.I also liked the acerbic wink at coexistence efforts. Riklis nailed it.Great acting and camera work, excellent subtitling. The use of the word "previous" to illustrate Eyad's grappling with his Arab accent was spot on. I'm also gratified by the English title; "Borrowed Identity" expresses the plot line so much better than does "Dancing Arabs". Regarding the latter, I take issue with other reviewers who read symbolism into the title; in my view, it refers quite literally to Eyad's family dancing on the roof during the Scud attacks, a known occurrence. The fact that he declines to join them says it all.The relationship between Eyad and Yonatan was also done beautifully, showing how when dealing with severe disability, identities like "Jew" and "Arab" are dwarfed by more immediate, human concerns. The film did an excellent job of showing this. Highly recommended.

jdesando "Of course, I'm aware of the animosities destroying brain cells on both sides, and I know all about the obstinacy of the warring parties, their refusal to reach an agreement, their devotion to their own murderous hatred…." Yasmina Khadra, The Attack Identity is indeed the heart of A Borrowed Identity about Palestinian boy, Ayed (Tawfeek Barhom), sent to a premiere boarding school in Jerusalem, but beset by prejudice against him and decisions about which culture he should embrace. This informative film is a crash course in cultural clash with enough character and interpersonal drama to satisfy the most discerning cinephile. Those who found The Attack an unforgettable interpretation of the conflict will have a similar reaction to this film.From the early '80's nothing is going right for Palestinians: Israel dominates the split of the region while Hamas begins to retaliate. Meanwhile Ayed has the misfortune to fall in love with a Jew, Naomi (Daniel Kitsis), whose love will drive some of his basic decisions, like staying at the boarding school, and therefore his life.The charm of this film is that it does not take sides, just empathizes with the protagonist, whose love is not only natural but also an emblem of the absurdity of cultural wars when one considers that it's really about people, whose loves cannot be controlled, and shouldn't be. Her mother would rather Naomi be "a lesbian, a drug addict, or has cancer" than be in love with an Arab.The more time director Eran Riklis lets us spend with these Romeo- and-Juliet lovers, the more we are convinced the Arab-Israeli conflict is an absurdity born of historical hatreds that really shouldn't apply in the modern World. The tragedy is that Ayed must deal with the debilitating prejudice daily and make decisions on it rather than his natural love and brilliance.But that conflict is what makes A Borrowed Identity such a watchable drama that gives more insight into that region of the world than all the Wikipedia articles touching on the Arab-Israeli conflict.

Howard Schumann According to a 2013 census, 20.7% of Israel's population are Israeli Arabs, citizens of Israel who consider themselves Palestinian by nationality. The problems that arise from these conflicting allegiances are dramatized in Avram Riklis'("Zaytoun") film Dancing Arabs, a title that denotes those who have to straddle two cultures and "dance at two weddings." Based on the semi-autobiographical novel by Sayed Kashua (who also wrote the script), Dancing Arabs, known also as "A Borrowed Identity," was the opening film of the Jerusalem Film Festival in July 2014 and was scheduled to be released immediately, but was held back until now because of the war in Gaza.The film, however, is not designed to stir up ethnic animosity but is rather a heartfelt coming-of-age story that transcends cultural barriers. Set in Tira, a predominantly Arab city in the Southern Triangle near the West Bank, the film begins in the 1980s. Eyad (Razi Gabareen), a brilliant young boy is praised by his father Salah (Ali Suliman, "Flying Home") who recognizes his potential to achieve more than he did in his life. Salah himself attended university in Jerusalem but, after serving jail time because of political activity supporting the Arab cause, now works as a fruit picker. When the class is asked in school what their fathers do for a living, Eyad says repeatedly that his father is a terrorist and refuses to change his mind even when he is hit repeatedly on the hands by the teacher, demanding he say that he is a fruit picker. When Eyad (now played by Tawfeek Barhom, "Farewell Bagdhad") is of age he is sent to a Jerusalem boarding school where his experience of trying to fit in becomes the centerpiece of the film. As the only Arab among Jews, he is an outsider who must learn to speak a new language, study a curriculum weighted against the Arab point of view, and put up with teasing by bullies. His difficulty with language is suggested by a scene in which Eyad pronounces the name of a rock band "Deeb Burble," because, unlike in Hebrew, there's no "p" in Arabic. As time passes, things begin to improve. One of the best scenes in the film is Eyad's eloquence in a literature class, angrily pointing out Israeli literature's inherent bias toward Arab characters, a courageous statement that even wins the plaudits of some Jewish classmates. Further, when an attractive, free-spirited classmate, Naomi (Daniel Kitsis, "S#x Acts"), takes an interest in him, they begin a relationship that grows deeper in spite of its being frowned on by society and both sets of parents.As part of Eyad's community service requirement, he works with Yonatan (Michael Moshonov, "Policeman") a wheel-chair bound victim of Muscular Dystrophy who loves alternative rock and has a wicked sense of humor. Yonatan's mother Edna (Yael Abecassis, "That Lovely Girl") welcomes Eyad into her home not only for her Yonatan's benefit but because she genuinely likes him. Yonatan can relate to Eyad's feeling of being separate and apart from others, though the reason is very different. "Sometimes I forget you're an Arab," Yonatan says. "Me too," replies Eyad. "Don't worry," his friend responds. "Someone will always remind you." Dancing Arabs is not a political film and the Arab-Israeli conflict remains marginal, only occasionally referred to when Eyad's family, mother (Laetitia Eido, "Article 23") and grandmother's (Marlene Bajali, "The Syrian Bride") instinctively pull for Saddam Hussein in the 1991 Gulf War until they realize what he is up against. The film is basically about good people trying to make the most of a bad situation and the fact that they are so alienated from each other because of cultural and ethnic differences is a sad commentary on the lack of political will on both sides. While people may expect violence in a film that deals with ethnic conflict, here there are no grand dramatic gestures that turn children into martyrs, only constant reminders of everyday barriers to a sense of belonging. Even when Eyad learns the language, repeats the Jewish version of history in school, and strives to become a model Arab Israeli citizen, he is reminded every day at checkpoints and roadblocks of his being different. The political situation in Israel has deep-seated roots and we know not to expect the issues raised in the film to easily resolve themselves, yet Riklis leaves several threads hanging and insists on a forced resolution that does not ring true. While this is a regrettable choice, it does not detract from a truly fine effort.