Sixteen-year-old Arik (Tuval Shafir) becomes an apprentice to Yankele Bride (Adir Miller), a matchmaker with eccentric practices. Among their clients is Sylvia (Bat-El Papura), a little person who runs the local cinema.
Credit Menemsha Films
Bride (Adir Miller), Clara (Maya Dagan) and Meir (Dror Keren) are all part of The Matchmaker's world of quirky love and barely repressed trauma.
Arik, the 16-year-old Israeli at the center of The Matchmaker, doesn't get why everyone keeps talking about love. It's the summer of 1968 in Haifa, and though the American summer of love is just a recent memory, Arik (Tuval Shafir) couldn't care less — he finds war immensely more interesting.
The "know your farmer" concept may soon apply to the folks growing your coffee, too.
Increasingly, specialty roasters are working directly with coffee growers around the world to produce coffees as varied in taste as wines. And how are roasters teaching their clientele to appreciate the subtle characteristics of brews? By bringing an age-old tasting ritual once limited to coffee insiders to the coffee-sipping masses.
Originally published on Tue August 21, 2012 11:31 am
What's an American family these days? Many different things, but while television — a domestic medium to its marrow — has an affectionate finger on the pulse of the changing modern family, movies often seem stuck in a sorry dysfunction held over from the late 1960s, when we awoke to find that jolly Beaver Cleaver had morphed into miserable Benjamin Braddock, and while Mrs. Robinson tippled discreetly in the bedroom, Father, far from knowing best, went clueless or missing.
The words "inspired by true events" are the first things to appear on screen in Compliance, Craig Zobel's queasy thriller of discomfort. I knew that this was the case going in, and had heard the basic facts of the "strip-search prank-call scam" that serves as the movie's inspiration. But I didn't know the full details — and as an ever-increasing load of humiliation and indignity was piled on the teenage fast-food worker at its center, I found myself getting angry with the film, assuming that Zobel was amping up the severity of real events for dramatic effect.