A man in his late fifties drives his soldier son to a remote military base. After a quick smoke and pee break, they part ways. The son wave’s goodbye and heads into the camp, but the father, turning his car homeward, is suddenly seized by crushing anxiety for his son’s fate. He turns back, rooting himself beneath a large acacia tree beside the base fence. This is the beginning of a “road movie” that plays out almost entirely in one central location. People come and go, enriching the narrative, influencing the protagonist, and in turn, being influenced by him. And he, Jonah Kimhi, remains beneath the tree, waiting for his son.Just beyond the hills, preparations unfold for a large outdoor festival. A celebration of music, freedom, and youthful spirit in the heart of the desert—a stark contrast to Yona’s emotional and physical state. Elinor, a young woman from the festival’s setup crew, attempts to help Yona find a release from his worries. Likewise, a slightly peculiar real estate agent approaches him, a rental contract in hand, compassion and prayer in his heart. The ending is ecstatic, liberating, and should have been so much better.

Followed by Q&A with Actor Shai Avivi