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Inside Brooklyn’s ultra-standard Jewish people group, a widower fights for authority of his child. A delicate show performed altogether in Yiddish, the film personally investigates the idea of confidence and the cost of parenthood.
(Menashe Lustig), a Hasidic Jewish man who was as of late widowed, tries to pick up authority of his ten-year-old child Rieven (Ruben Niborski).
Like all great films that nudge the world toward being a slightly more compassionate place, the creation of “Menashe” is an act of empathy. Co-writer/director Joshua Z. Weinstein’s film achieves this initially by putting a soulful gaze on a world we rarely see in American film, the Hasidic community of New York City, using non-actors who speak entirely in Yiddish. But the emotional focus is what makes the film so incredibly special. Here is a film dedicated to recognizing our most common obstacles, its quiet storytelling largely accompanied by those feelings at the bottom of anyone’s gut: guilt, shame, defeat. “Menashe” is a gorgeous ode to everyone’s inner screw-up.
Those reactions come from observing the life of Menashe (Menashe Lustig), our hero and our tragedy. His wife has recently died, his son Rieven (Ruben Niborski) has been placed into the care of his brother Eizik (Yoel Weisshaus), and he keeps screwing up at his job at a local food store. Menashe is a direct opposite of what his rabbi, The Ruv (Meyer Schwartz) says that the Talmud indicates any good man should have: “A good wife, a good home, nice dishes.” Stubborn yet prideful, he is desperate to prove to his peers that he is fit to take care of his son, despite being a widower, something that they essentially hold against him. But he keeps screwing up, with some problems the cause of his own foolhardy nature or nearsightedness, and others are less so. He slams back and forth between two Yiddish terms: a schlemiel (inept) and a schlimazel(unlucky).