“A documentary cartoon may sound like an oxymoron (is it not the duty of animation to elasticate reality?), and Ari Folman’s film is indeed impossible to classify. Buried within it is the massacre at the Sabra and Shatila refugee camps of West Beirut, in 1982, but much of the movie is composed of dreams and distant recollections, as Folman-who was serving in the Israel Defense Forces at the time-questions his former colleagues and slowly feels his way toward the horror. There are passages of unexpected lyricism, including the Fellini-like vision of a giant waterborne nude, as well as a very funny pastiche of no-budget German pornography, but the harsh editing and the gloomy hues leave you in no doubt as to the somber purpose of Folman’s quest. Whether that justifies the last-minute switch of direction, in which he reverts to actual news footage of the slaughter, is open to debate; the head-on vigor of his animation is already graphic enough” (New Yorker).

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