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This year’s 12th edition of the Scary Movies festival at Film at Lincoln Center premiered Ari Aster’s extended version of “Midsommar” this past Saturday.

Aug 19, 2019

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Nadav Lapid’s ‘Yes’ Finally Finds U.S. Distribution — No-Show at Fall Fests

August 20, 2025 Jordan Ruimy

Israeli director Nadav Lapid’s latest film, “Yes,” didn’t make the official selection at Cannes this year, instead landing a spot in the parallel Directors’ Fortnight section. It was a surprising move, considering Lapid won the Jury Prize in 2021 for “Ahed’s Knee.”

Asked about the snub, Lapid initially decided to stick with what his publicist advised him to say, but then hinted at “cowardice” and suggested that his film, critical of the Israeli government, might have been too “radioactive.”

Here we are, almost four months since Cannes, and “Yes” has, finally, found U.S. distribution via Kino Lorber. The plan is for a theatrical release in 2026.

Isn’t it odd how “Yes” was utterly acclaimed at Cannes, yet hasn’t shown up at any of the big fall festivals? No Telluride. No TIFF. No NYFF. It earned raves from The Guardian, THR, Vulture, Variety, Screen, IndieWire, and IONCINEMA.

The reason for Cannes’ hesitation isn’t hard to guess. “Yes” is a provocative, confrontational musical satire centered on two Israeli artists who agree to write a national anthem in the aftermath of October 7. It’s part political takedown, part artistic meltdown, and fully aware of its own explosiveness.

Production was rocky. Cast and crew came and went. Some quit; others disappeared, citing sudden “fevers.” Lapid described the shoot as an underground operation: minimal gear, limited monitoring, and a pervasive sense of risk.

The lead role is played by Ariel Bronz as “Y,” a jazz musician who bleaches his hair and dives into a nationalist rebranding project while his personal life collapses. His wife, a hip-hop dancer named Yasmine, watches as drugs, sex, and political compromise consume their world. The film’s anthem uses lyrics from a real far-right Israeli group. Subtlety is not the goal.

Due to a scheduling hiccup, I only caught up with the first half of Lapid’s 150-minute film—what I saw was a sensory overload of music, politics, and anger. It was loud, uncomfortable, and—complimentarily—unsubtle. I very much look forward to seeing it in full soon.

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