Eran Kolirin’s signature is the long take. In Beyond the Mountains and Hills, scenes are allowed to breathe until they become uncomfortable. A family dinner is not cut for reaction shots; instead, we watch Yaniv eat cold chicken in real time while his parents avoid eye contact.
Cinematographer Shai Goldman (who also shot the visual masterpiece Foxtrot) uses a desaturated palette of beiges, grays, and institutional greens. The “mountains and hills” of the title are always visible on the horizon—distant, unreachable, mocking. This visual metaphor is key: happiness, like the mountain range, is something the characters see but cannot touch.
One standout scene involves David walking alone at night through a new residential development. The houses are identical. The streets are empty. Kolirin holds on David’s back for nearly three minutes. He is a man literally surrounded by walls he cannot climb. No dialogue is needed. Beyond The Mountains And Hills 2016 Ok.ru
Beyond The Mountains and Hills (2016) is a film that follows [concise plot placeholder — assume a character-driven drama set against rural/remote landscapes]. The story centers on personal conflict, family dynamics, and the emotional impact of isolation and change. Visual storytelling emphasizes natural scenery and subdued performances to convey internal struggles.
Beyond the Mountains and Hills is not an easy watch. It is slow, melancholic, and at times frustrating—just like the grieving process itself. However, it is a masterful study of how tragedy can paralyze a family and how silence can be louder than words. Eran Kolirin’s signature is the long take
Recommended if you like: Slow-burn dramas, films about family dynamics, and Israeli cinema like The Band’s Visit or Foxtrot.
The film focuses on the Glik family, living in a quiet suburban neighborhood at the foot of the Jerusalem mountains. The father, Davidi, is a retired army officer who has just begun a new career as a high school teacher. His wife, Zipi, works in real estate. They have four children: two young boys and two older daughters. Cinematographer Shai Goldman (who also shot the visual
On the surface, they are a secular, middle-class Israeli family. However, the film opens with a tragedy: the eldest son, a soldier, has been killed in action during a military operation. The film takes place after the funeral, as the family attempts to return to "normal life" without ever properly addressing their grief.
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