I'll tell you why so serious

what a terribly boring film. I'm sorry but this is absolutely not deserving of best picture and will be forgotten quickly. Entertaining and engaging cinema? No. Nothing performances with flat faces and mistaking silence for subtlety.

One of the worst ways to make a cult movie is to set out to make a cult movie.

The tone of this movie is interesting -- the stakes are both dramatic and high, but it's balanced with a lot of fun, tongue and cheek dialogue.

My main reason for seeing 'Promised Land', the first film in Amos Gitai's "Border Trilogy", was Rosamund Pike early on in her career. She was a promising young talent at the time and has really grown into a very good and better-than-given-credit-for actress who really delivers in the right role, as can be evidenced in one of the best Best Actress performances of the decade, and one of the best performances that year, in 'Gone Girl'.There was also intrigue as to how 'Promised Land' would deal with such a heavy, harrowing and nasty subject matter, human trafficking, something that is important to be raised awareness of and not addressed enough in visual media (film and television alike) while also being difficult to do it justice. As can be made clear from watching 'Promised Land'. Any film that takes on a subject such as human trafficking should be applauded for trying, but it is my feeling that 'Promised Land' could have dealt with it much more and handled it with more sincerity and taste. It is neither terrible or great, as a matter to me it's one of those difficult to rate and discuss films, and to be seen to see how human trafficking can be portrayed on screen and for completests of Rosamund Pike and Amos Gitai. That is if one can find it, with that it had a limited release at the time and, other than various websites having it in full, its availability is relatively obscure.'Promised Land', starting with its strengths, does start off promisingly. It has a very evocative opening scene and some of the first half has a gritty documentary-like feel. Some of it looks good, the first half is shot pretty well, the locations are striking and atmospheric and there is some impressively rich lensing in some of the night sequences.When it comes to the acting, which is actually not too bad at all considering what they were given, the standouts are Hanna Schygulla bringing a menacing but also comforting charisma to her role (more so than it deserved, with some really clunky dialogue that sounded made up on the spot) and Anne Parillaud, quite moving in hers. Rosamund Pike disappointingly doesn't have that much to do and the role is very limited in depth, but she nonetheless gives a conscientious and brave performance (again like Schygulla, more so than the material deserved). Some scenes are suitably harrowing.However, 'Promised Land's' promise doesn't last very long. The first half did have its faults, with some of the pacing being dull and taking too long a time to get to the point, but the film really loses its way in the second half. The subject as has been said is unspeakably harrowing, you don't have to have gone through it yourself to know that, so a nasty approach is appropriate and necessary, but it still could have been done with more tact than this. Here the horrors were both excessive and trivialised and the treatment of the women was portrayed in a way that was self-indulgent and gratuitously salacious, done to overkill effect.Coherence, or lack of it, is also an issue. There is not much going on plot-wise in terms of structure and some of it is aimless. The second half in particular is repetitive and figuring out what's going on beyond the endless stringing of torture (and such) scenes was near-impossible. Telling who was who was the same (the far too dark lighting does not help), with the film having characters that despite the actors' best efforts have no development to them whatsoever. The dialogue is continually clunky and says nothing illuminating about this subject other than what we already know, and Gitai's direction is heavy-handed. Emotional impact is non-existent, the film is just far too distasteful to evoke any kind of empathy and the characters are too flimsily developed to make one care for them properly. Then there's the all too convenient Deux Ex Machina conclusion, which was too much of a cop-out.Overall, started off with a lot of promise but loses its way drastically in particularly the second half. 5/10 Bethany Cox

I liked 'Promised Land' and I am wondering why it got so many bad reviews from critics and why it did not have a fair chance to meet with the public. Other people comments have too much focused on what they perceive as flaws in the logic of the story. These may actually be real, as Amos Gitai is not the best story teller on screen, but this is not where the essence of a film like this needs to be looked for. The subject of the film is human trafficking and none of the several documentary or pseudo-documentary films I have seen lately did a better job in raising the issue in a strong and emotional manner, shouting about the brutality and evil that is happening in the lives of the victims. It is exactly the lack of logic, the absence of any romanticism or fictional elements that brings the issue in a stronger manner towards the viewers. The series of brutal and realistic scenes becomes surrealistic because the reality is exceeding the ugliness of nightmare. The contrast between the ideal Holy Land and the ideal Israel that Amos Gitai may dream for his country and reality is the very contrast that almost all Israelis have to deal with. This film raises a painful issue in the painful manner that it deserves.

It is deeply saddening to realise how misinterpreted this film is by several users. This is one of the greatest works by Gitai thus far. It is obviously about human trafficking and prostitution in Israel; however, there is much more to this film. It tells a story of several Russian women from Estonia that are being trafficked into Egypt and from there, through Gaza strip, into Israel. The style is semi-documentary, which speaks to the reality of the events.Yet, it seems to me, the message Gitai is sending is not only about the horrors of prostitution in Israel. The subject of female body as a sexual object is in the center of this film. The treatment of women is portrayed in a very bestial and inhumane way. They are traded like cattle, where the highest bidder gets the best animal at an auction. Women are washed with ice-cold water in a group, and then "corrected for" through hasty make-up. The driver that transports women from one "work" spot to another recklessly picks a girl of his choice and rapes her on the road. The scenes are disturbing and made me nauseous on few occasions.Those who are disappointed about the lack of script or bad acting should look into some documentaries and literature on human trafficking. These are real events that are happening as we speak; to make them more plausible to the viewer or to assign a Hollywood-style script would do no justice to women being trafficked. This film only complements my knowledge of the subject. Congratulations Amos, it takes a lot of courage and determination to create such a piece.

This was an incredibly important subject...treated in an amateurish, arrogant way. The director expected the audience to understand what was going on...this was impossible: there was no plot, no script to "speak" of, no plot points, no character development, no story development. It was filmed in a shaky documentary style (which is valid if you have something to say). I was always taught that any narrative, be it a movie, book, play, even a piece of music, has to have a beginning, a middle and an end - this dreadful excuse for a movie had a beginning...and then it waffled for the next hour or so until the woman we sort of guessed was the heroine, ran off into the night. Let's be specific: The opening sequence wasn't that bad - very evocative scenes in the dessert, camels, Bedouin, a group of Eastern European women, a campfire, lots of Russian and Arabic chit chat - OK, "expectations build": Next scene (after the first obligatory rape scene): auction of the Eastern European women as prostitutes: very noisy, not sure who the English-speaking (French-accented) person was - a buyer or a seller: couldn't make that out. A van drives by with two people in the back (man/woman) staring out at the auction...who are they, why are they there? Nobody knows. Next scene: in a nightclub (after the "hosing down" of the prostitutes - a highly contrived scene, calculated to make us think of Holocaust victims in the showers - come on Amos, what are you really trying to say? The woman from the van (we eventually learn her name is Rose - Rosamund Pike) which was driving around the auction and her boyfriend (is he her boyfriend?) arrive at the nightclub, one of the prostitutes asks her for help. Rose is totally confused: "What, how, why - I can't help you...why me?" she says indicating that she doesn't even understand the cry for help. Next scene, Rose and her boyfriend (?) are in the passenger compartment of a van with ALL THE PROSTITUTES IN THE BACK! Hello...! What's going on here? She couldn't (or wouldn't) help the prostitute escape, why is she in the van with them? Contrived gratuitous sex scene with Rose and her boyfriend (?). Next scene, the van arrives in a grimy industrial area, unloads the prostitutes at what is apparently a brothel ("The Promised Land" of the title) - and lo and behold, Rose the mystery woman gets out with them and enters the brothel: where's her boyfriend? Dunno... Why is she there with them? Dunno...She and the "heroine" - the prostitute who begged her for help in the nightclub - sit huddled together listening to the driving rain (it wasn't raining when they entered the brothel), talking as if they were old friends. Flashback, to Estonia, the prostitute is a virginal choir girl, singing about the "Peace of Jerusalem" (in English mind you), pure driven snow outside (another "message") and suddenly Rose appears: OK now I'm totally lost. Then the audience is jerked back to the present with a terrorist attack on the brothel - why? There's nobody around, the only people there (apparently) are whores and their johns...upstairs - why a terrorist attack here? Everybody runs outside, the prostitute who asked for help and Rose escape in the confusion and run off into the night. Close. ..and this won a prize at the Venice Film Festival!!!!??? It wouldn't win a passing grade in a student film contest. It's clearly a case of the Emperor's New Clothes: this has to be the most self-indulgent so-called movie ever to grace the screen: even "Plan 9 from Outer Space" had some quirky charm... Sorry Amos - not even an "E" for effort.