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Fill the Void tells the story of Shira, a very devout Hasidic girl who is arriving at the point of her life where she is pressured into an arranged levirate marriage to an older widower, which is what happens in her community.
29 July 1978, Israel
15 April 1958, Tel Aviv, Israel
21 September 1990, Israel
1956, Israel
28 March 1959, Yagur, Israel
1 April 1970, Ramat HaSharon, Israel
1972, Tel Aviv, Israel
October 05, 2016
Burhstein's slow-paced, carefully edited work illuminates concepts of filial piety, female agency, and patriarchy.
July 11, 2013
It's an artful, character-driven drama that constitutes a minor miracle of empathy.
June 20, 2013
Burshtein creates a one-of-a-kind portrait that nonetheless transcends its setting, and even its worldview; the dynamics are global.
December 09, 2013
This is an extraordinary first film, nerve-tingling in its intensity, and assembled with a finesse and control even the great Austrian director Michael Haneke might envy.
June 20, 2013
Burshtein has achieved a gripping film without victims or villains, an ambiguous tragedy drawing on universal themes of love and loss, self-sacrifice and self-preservation.
April 09, 2014
A man and a woman, alone, on a path at night, forbidden to touch, speak, confront, describe passion: the man moves closer. That's all. The smallest of moves, infinitesimal motion. The world tilts on its axis.
February 28, 2014
...an entertaining yet uneven debut from a promising new filmmaker...
May 23, 2014
Emotional issues an an insular world
February 28, 2016
It's not a great movie, but it's a humane and touching one.
February 06, 2014
As opposed to the bleak view of sexual subjugation in Kadosh, Amos Gitai's 1999 film about Hasidic marriage, Fill the Void sees Burshtein fortrightly and wittily asserting that this is how her community lives.
July 30, 2013
Beautiful and mysterious, the[se] first glimpses are an ideal primer for the Israeli film, which never rushes to spell out the meanings of its subtle and quiet moments.
June 14, 2013
[Burshtein] vividly depicts a clannish culture that is likely to feel foreign and perhaps off-putting to generations that came of age in a progressive post-feminist era.
