The trailer for “The Wedding Plan” certainly elicit grins, but it suggests one unhappy outcome: Did Israeli filmmaker Rama Burshtein sell out?
The Orthodox writer-director’s acclaimed debut, “Fill the Void,” was an uncompromising story of a young Orthodox woman grappling with her parents’ and community’s expectations regarding her prospective husband. In contrast, “The Wedding Plan,” while also chuppah-bound, appears from the trailer to be a romantic comedy designed to entertain.
In fact, “The Wedding Plan” is a high-stakes emotional journey about an observant woman in her 30s who’s so unhappy that she resolves to wed on the last night of Hanukkah—with no groom in sight—after her fiancé breaks up with her mere weeks before their appointed date.
Michal’s family and friends counsel against such a bold, risky and potentially devastating strategy, but she remains undeterred. The film contains plenty of witty one-liners but, as the Israeli trailer conveyed, it’s not a disposable sitcom.
So Burshtein has assuredly not sold out. She simply trusted her U.S. distributor’s marketing strategy, even if some ticket-buyers are misled.
“If you think you’re going to see a romantic comedy and you get something more, that’s good,” Burshtein says. “You get something stronger and that’s OK.”
“The Wedding Plan” opens Friday around the Bay Area, following its local premiere last month in the San Francisco International Film Festival.
Both of Burshtein’s films raise a curtain on the lives of Orthodox women, in part through honest conversations they have among themselves when men aren’t around. The characters reject the idea that Orthodox women are subservient to men and, unsurprisingly, so does their creator.
“I wouldn’t choose [to live in] that world,” Burshtein declares. “For me, being religious is liberating. It’s not killing or closing or not letting me express my thoughts.”
Burshtein goes even further, asserting that women are the creative force.
“The art world is women,” she says. “[Orthodox] men don’t make films, they don’t cook, they don’t paint.”
Burshtein originally pitched “The Wedding Plan” as a television series, but after getting the green light and embarking on the script she decided it would be a feature film. Although she doesn’t say it, a movie is seen by more people around the world than an Israeli TV show.
“I’m writing from my world to the outside world,” the filmmaker explained in a phone interview during a press day in Washington, D.C. “Not [just] to secular people but to non-Jews. It opens a window to my world to people who know nothing about my world.”
Burshtein, 50, was born in New York and became religious while she was in film school in Jerusalem in the 1980s. She admits she didn’t expect the attention her films have received abroad, but at the same time she isn’t surprised they touch audiences far beyond Tel Aviv and New York.
“We live in an age when women find their partner pretty late,” Burshtein says. “And sometimes they don’t. It’s very hard to find someone that you really want to share your life with. [My films] connect to that. All over the world, it’s the same thing, the same heart.”
“The Wedding Plan” is unmistakably and unapologetically set in the Orthodox community but the crux of the film is Michal’s urgent personal quest. Although her ostensible goal is to get married, it’s clear from the raw and powerful opening scene that what she really craves and seeks is the respect of a committed partner.
Michal’s striving is universal and at times absurd, which spawns the film’s humor. Because she has no time to waste, Michal (played by the fearless Noa Koler) confronts every prospective suitor with direct questions and shockingly honest confessions that derail and discomfit them.
Michal’s pain and desperation are palpable through the laughs, to the point where she makes a pilgrimage to Ukraine to the grave of Rabbi Nachman of Breslov. That’s not an incidental detail, for Burshtein is a proponent of Nachman’s philosophy.
“We can handle despair, and we can handle hope,” the filmmaker says. “The film is that movement between the two.”