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The tragic events of the October 7 massacre at the Supernova music festival in southern Israel, close to the border with Gaza, minute-by-minute. merely through festival survivor's camera footage, and terrorist's body camera recordings.
監督:Dan Pe'er

#NOVAの視聴方法

  • Dan Pe'er監督
  • Granit Noham Eliazプロデューサー
  • Galit Sharvitプロデューサー
  • Richard Deitzエグゼクティブプロデューサー
  • Lev Goltser編集者
  • Nadav Direktor編集者
  • Patrick Willis2025年10月9日
    Nova: A Supernova of Self-Importance, a Black Hole of Ideas Nova is less a film and more a two-hour trailer for a movie that never actually starts. It’s a visually polished, intellectually bankrupt vacuum, screaming its own profundity into a void it mistakes for a captivated audience. The film mistakes "ambiguity" for "depth," presenting a plot so determined to be enigmatic that it forgets to be coherent. We follow a protagonist with the emotional range of a granite countertop on a quest for a "cosmic truth" that the screenwriters clearly couldn't be bothered to define. The result is a parade of stunning, empty visuals—nebulae, wormholes, alien landscapes—that serve as a screensaver to distract from the narrative bankruptcy at its core. It’s a film terrified of its own audience, convinced that offering a single, tangible idea or a relatable human emotion would be "selling out." Instead, it drapes itself in the tattered cloak of arthouse sci-fi, quoting Tarkovsky and Villeneuve but understanding only their aesthetic, not their soul. The dialogue is a series of faux-poetic pronouncements that sound profound until you realize they mean absolutely nothing. Nova is the cinematic equivalent of a student who stayed up all night reading Wikipedia pages on existentialism: it reeks of effort and utterly lacks insight. It doesn't explore the human condition; it uses the human condition as a backdrop for its own pretentious screensaver. A dazzling, expensive, and profoundly tedious waste of light and sound.

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