6.8 | / 10 |
| Users | 0.0 | |
| Reviewer | 3.5 | |
| Overall | 3.5 |
A bar mitzvah mishap causes a major rift in a devout Orthodox community in Jerusalem.
Starring: Evelin Hagoel, Igal Naor| Foreign | Insignificant |
| Drama | Insignificant |
| Comedy | Insignificant |
Video codec: MPEG-4 AVC
Video resolution: 1080p
Aspect ratio: 2.39:1
Original aspect ratio: 2.39:1
Hebrew: Dolby Digital 5.1
English SDH, French, Spanish
Blu-ray Disc
Single disc (1 BD)
Region A (B, C untested)
| Movie | 3.5 | |
| Video | 4.0 | |
| Audio | 3.5 | |
| Extras | 0.5 | |
| Overall | 3.5 |
There’s an old adage that states “two Jews, three opinions,” and that proclivity is perhaps nowhere more apparent than in how various Jews choose to observe (or not) their religion, and how they interpret halakha, the many, and often contradictory, religious laws that have accrued over the millennia of Jewish history, and which in and of themselves quite remarkably prove the “two Jews, three opinions” adage. I’m what I jokingly refer to as a “dreaded patrilineal”, meaning my father was Jewish and therefore some in the more orthodox wings of Judaism don’t even consider me a “real” Jew since my mother wasn't (I’ve also joked with some of my more observant relatives that in my estimation my lineage simply gives them plausible deniability in case I do something stupid). I once got into a pretty heated argument online with a Jewish social media group when another “dreaded patrilineal” posted about just having discovered she was Jewish on her Dad’s side, and wondering if that made her Jewish. I told her it was up to her and her own idea of Jewish identity, while a number of orthodox types simply said “no way”. One of them started mentioning halakha in defense of their opinion, to which I responded, “Whose halakha?”, specifically referencing the Jewish group known as the Karaites, who only accept patrilineal descent to define who is Jewish. That rather hilariously (to me, anyway) put an end to that debate, but it’s perhaps indicative of the wide array of opinions that even supposedly similarly observant Jews can have about those very observances. The Women’s Balcony features a group of pretty orthodox Jews worshiping at a Jerusalem synagogue, but even though they’re bound together as a social group and ostensibly as believers sharing the same basic set of tenets, the entire film is an exercise in “two Jews, three opinions”, sometimes slyly comic, but just as often kind of bitterly sardonic and perhaps even rueful. Any non-Jews who have ever attended an orthodox service will probably concur that it’s almost like entering some sort of alien (as in otherwordly) environment, with a strange language and even stranger customs, among them the seemingly archaic emphasis on separating the genders. In most orthodox shuls, the women have their “place”, and that typically is on the balcony above the main floor, the main floor being the exclusive domain of the men. That very separation isn’t even questioned in The Women’s Balcony, perhaps one sign of an almost inherently understood orthodoxy, but when the shul’s balcony collapses during a Bar Mitzvah celebration, seriously injuring the Rabbi’s wife in the process, how the synagogue treats its women congregants and how it chooses to rebuild become the focal point of a charming if perhaps slightly underdeveloped tale that should certainly appeal to any lover of foreign cinema that seeks to examine seemingly quaint customs in other cultures.


The Women's Balcony is presented on Blu-ray courtesy of Menemsha Films with an AVC encoded 1080p transfer in 2.39:1. I haven't been able to track down any authoritative technical data on the shoot, but this looks digitally captured and while the palette is kind of curiously anemic quite a bit of the time, sharpness and clarity, as well as general detail levels, are first rate. There are a number of excellent examples of well rendered fine detail throughout the film, including elements like roughhewn stone walls in the alleyways of Jerusalem, or even the tzitzit (fringes) on various tallit. Quite a bit of the film takes place outdoors, and good lighting conditions promote excellent detail levels, though the palette looks a bit on the blue side quite a bit of the time. There are no issues with compression artifacts or image instability.

Menemsha Films is relatively new to the Blu-ray game, and so I won't take them to task in the same way I just did Lionsgate for its release of America: Promised Land, which featured only a lossy Dolby Digital 2.0 track. At least The Women's Balcony offers a decently robust surround track delivered via Dolby Digital 5.1, but Meneshma may want to start offering lossless audio to totally win over the high definition consumer. There's quite a bit of exuberant energy running through the track, often courtesy of a winning score by Ahuva Ozeri, but the many outdoor scenes do offer good placement of ambient environmental effects. Dialogue (mostly in Hebrew, but with sporadic outbursts in English) is rendered cleanly and clearly, and there are no problems with distortion, dropouts or other damage.


While obviously not germane to any of the issues dealt with in The Women's Balcony, the fact that the women band together in an almost Lysistrata-esque fashion until the men come to their senses rather strangely brought to mind the current scandal involving Harvey Weinstein, where just a relatively few women armed with social media outlets like Twitter were able to speak truth to power and make a significant change (one hopes, anyway). There's a similar subtext of female empowerment in this film, even if it's cloaked in an otherwise overwhelming orthodoxy that, for example, never questions the need to separate the genders during services. Buoyed by a palpable sense of place and featuring several winning performances, The Women's Balcony doesn't have much in the way of supplements or even lossless audio, but with caveats noted, comes Recommended.