A couple of weeks back on Irish Left Review I wrote a piece on good and bad left-wing cinema, noting how many films whose political views one might share tend to be atrocious and embarrassing to watch. There are, however, some good ones and many in recent times have been coming out of Israel, ironically enough, seeing as it’s a country that so often incurs the righteous (and not so righteous) indignation of folk on the left.

The last two weeks have seen two Israeli films released in Paris, Ronit and Shlomi Elkabetz’s Seven Days and Ari Folman’s animated documentary Waltz with Bashir, which many felt should have come away from the Cannes film festival with at least a minor prize. I have yet to see Seven Days but I got the chance last week to see Folman’s film, which is exactly the sort of politically engaged film that is worth watching - intelligent, probing, unwilling to point fingers and devoid of caricature or mechanical dialectics.

The film is autobiographical, stemming from Folman’s own inability to recall events from his days as an Israeli conscript during the 1982 invasion of Lebanon, during which the Israeli military allowed Christian Phalangist militias to massacre Palestinian civilians at the Sabra and Shatila refugee camps. Folman is initially moved to mount the project following an encounter with a stranger in a bar who was also involved in the invasion, who tells of a recurring nightmare where the 28 dogs he killed in advance of an attack on a Lebanese town gather below his apartment baying for his blood. The opening sequence is a tour-de-force and serves as a frighteningly convincing metaphor for the cycle of violence that Israel and its neighbours remain locked in.

Animation might appear to be an unusual choice of medium for a documentary but, given that Folman’s film is largely subjective, it fits in with the tradition of comic-book reportage and autobiography pioneered by Art Spiegelman, Joe Sacco and Marjane Satrapi. The interviews with eyewitnesses are real - and the details of each are carefully represented - yet animation also provides a clear advantage for historical reconstruction: it is much cheaper and often more convincing than live action cinema. The film has a ghostly, oneiric quality in which memories meld with one another, where an Israeli gunboat off the coast of Beirut becomes a luxury yacht where troops party to the sounds of OMD’s ‘Enola Gay’ and the Israeli troops’ visit to the deserted Beirut airport is more chilling than any amount of apocalyptic hypotheses.

There is one flaw with the film, something which it shares with most well-intentioned Israeli films: it has a blind spot for the Palestinians. It simply cannot represent them; they exist as an off-screen presence, unreachable as they are incomprehensible. This is not necessarily a reproach; Folman was after all a soldier fighting a war against them so his experience would necessarily have been limited. He closes the film with shocking live action archive footage of the dead of Sabra and Shatila, by way of amends one imagines, and also to provide a real-life mirror for the nebulously described nightmare of the previous ninety minutes. Some critics have compared the film to Apocalypse Now, and it is easy to see why but Waltz with Bashir has no truck with the self-indulgence and decadence of that film, and it ultimately assumes its own responsibility for the madness engendered by war. It’s a brave, timely film and further proof of the brilliance of contemporary Israeli cinema.

Here’s the trailer for Waltz with Bashir: