I’ve been looking forward to the release of “Between the Temples” since I saw (and loved) it in Berlin last February. But, despite it being one of my favorite films of the festival and remaining one of my favorites of the year so far, I was worried. Were my memories of its brilliance clouded by the pomp and circumstance of the festival? On its surface, the film doesn’t seem to be doing anything too out of the ordinary. Would there be more to uncover a second time? While there is nothing in the film that you can’t pick up on the first time (besides some fun, minor details), a rewatch is a great reminder of Nathan Silver’s deft execution of his vision.
That vision is a deeply melancholic rom-com (of sorts) about finding purpose and meaning not in the supernatural or theological but in our relationships with others. For a film that centers on faith (in this case Jewish faith) and is often about how important and meaningful that can be for people, the film is a shockingly biting commentary on how self-interested religious institutions can be. Traditions are broken because major donations are offered or made to the Temple, rules are followed only when it is convenient to do so, and callous fundraising is done in the name of great tragedies. The film doesn’t beat you over the head with these hypocrisies, they are simply taken as facts of life contributing to Ben’s rapidly deteriorating faith and mental state.
The critical element here is Jason Schwartzman. A year after doing career-best work in Wes Anderson’s “Asteroid City,” he has somehow gone and topped himself almost immediately. It is so difficult to find the perfect balance between humor and despair, but Schwartzman walks that tightrope better than anyone. His dry self-deprecation is always funny, but it also highlights the sadness at the core of his character to the point that at times we can’t tell if he’s joking or not. It’s incredibly endearing, and without him, the film would not work at all.
I’m so happy that “Between the Temples” is finally available in theaters here in the States. Seeing this with a crowd, even in a tiny screening room, is a joyful experience. The film makes so many observations that others like it wouldn’t even bother with, and it creates a rich work that connects with different people at different points. Seeing it with a crowd, you can track when other viewers are cracked open by the film’s vulnerable truthfulness and the impression the film leaves on them won’t go away any time soon. It certainly hasn’t for me since I saw it in Berlin, and I can’t imagine it will going forward.
