In "Jellyfish" three stories about ordinary people, mostly women, unfold in the city of Tel Aviv. With very poetic, sometimes bizarre images that are often humorous in an unexpected way, "Jellyfish" shows the changes that happen inside these flawed, but ultimately lovable characters will eventually experience: changes that are very small, but big enough for them (or "Jellyfishes" ) to take a step out of loneliness into a new life.
French-Israeli film "Jellyfish" ("Meduzot") follows the events that happen to three women - Batia (Sarah Alder), a waitress whose boyfriend had just left her, and who meets a strange little girl at seashore; Joy (Ma-nenita De Latorre), a Filipino nurse and mother who had to leave her boy back in her country, and whose recent job is to accompany Malka (Zaharira Harifai), very difficult old lady; and Keren (Noa Knoller), a bride who had broken her leg at her wedding and whose relationship with her husband Michael (Gera Sandler), it is obvious, is on the rocks, partly because she suspects Michael is attracted to a beautiful, older woman staying at their hotel.
[THIS PARAGRAPH CONTAINS MILD SPOILERS] You will notice the same leitmotif used in the film's (seemingly) loosely woven stories. The three narratives are only loosely connected, but same images appear repeatedly - ships and water (or sea) most notably, plus shadow of death. Recurrent imagery implies the sense of connection between seeming strangers (compare carefully what Batia and the mysterious little girl do, and try to find the girl's float in Batia`s flashback scenes). Directors Shira Geffen and Etgar Kere concentrate the details associated with the characters they depict, making a frequent use of combinations and contrasts seen in images or characters' slight behaviors in order to tell us about the characters and their development.
Some things remain unexplained. Perhaps they should be so. Some people might say "nothing happens" in this small film. Actually something happens, but too obviously. The direction by Shira Geffen and Etgar Kere at times borders on pretentiousness, but the film's poetic charms remain the same.