Waltz with Bashir (2008) Poster

Waltz with Bashir (2008)

  • Rate: 8.0/10 total 26,271 votes 
  • Genre: Documentary | Animation | Biography | Drama | War
  • Release Date: 12 June 2008 (Israel)
  • Runtime: 90 min
Our Score
873 user reviews.

User Score (vote now)
1 Star2 Stars3 Stars4 Stars5 Stars

You're here : » » Waltz with Bashir (2008)...

Warning: simplexml_load_file(http://gdata.youtube.com/feeds/base/videos?q=Waltz+with+Bashir+2008+trailer&client=ytapi-youtube-search&alt=rss&v=2&max-results=7): failed to open stream: HTTP request failed! HTTP/1.0 410 Gone in /home/easymovy/public_html/wp-content/themes/streamplex/functions.php on line 50

Warning: simplexml_load_file(): I/O warning : failed to load external entity "http://gdata.youtube.com/feeds/base/videos?q=Waltz+with+Bashir+2008+trailer&client=ytapi-youtube-search&alt=rss&v=2&max-results=7" in /home/easymovy/public_html/wp-content/themes/streamplex/functions.php on line 50

Waltz with Bashir (2008)


Waltz with Bashir 2008tt1185616.jpg poster

  • IMDb page: Waltz with Bashir (2008)
  • Rate: 8.0/10 total 26,271 votes 
  • Genre: Documentary | Animation | Biography | Drama | War
  • Release Date: 12 June 2008 (Israel)
  • Runtime: 90 min
  • Budget: $1,500,000(estimated)
  • Gross: $2,283,276(USA)(10 May 2009)
  • Director: Ari Folman
  • Stars: Ari Folman, Ron Ben-Yishai and Ronny Dayag
  • Original Music By: Max Richter   
  • Soundtrack: Shadow Journal
  • Sound Mix: Dolby Digital
  • Plot Keyword: Interview | Lebanon | Dog | Lebanon War | Army

Writing Credits By:

  • Ari Folman (written by)

Known Trivia

  • The first animated film to be nominated for Best Foreign Language Film Oscar.
  • Contrary to common perception, there is no rotoscope work in this film. The production team did shoot live action footage, but this was then used as references for the film’s storyboards. The storyboards where then redrawn as digital paintings, which were manipulated with Flash animation.
  • Artist David Polonsky is right handed, but did most of the illustration for this film with his left hand, as he felt that his original drawing were ‘too pretty.’

Goofs: Revealing mistakes: When Ori grabs a cup on his kitchen table, his thumb goes straight through instead of clasping around it (error in animation).

Plot: An Israeli film director interviews fellow veterans of the 1982 invasion of Lebanon to reconstruct his own memories of his term of service in that conflict. Full summary » |  »

Story: One night at a bar, an old friend tells director Ari about a recurring nightmare in which he is chased by 26 vicious dogs. Every night, the same number of beasts. The two men conclude that there's a connection to their Israeli Army mission in the first Lebanon War of the early eighties. Ari is surprised that he can't remember a thing anymore about that period of his life. Intrigued by this riddle, he decides to meet and interview old friends and comrades around the world. He needs to discover the truth about that time and about himself. As Ari delves deeper and deeper into the mystery, his memory begins to creep up in surreal images.Written by intlpress@aol.com  

FullCast & Crew

Produced By:

  • Ari Folman known as producer
  • Serge Lalou known as producer
  • Gerhard Meixner known as producer
  • Yael Nahlieli known as producer
  • Roman Paul known as producer

FullCast & Crew:

  • Ari Folman known as Himself (voice)
  • Ori Sivan known as Himself (voice)
  • Ronny Dayag known as Himself (voice)
  • Shmuel Frenkel known as Himself (voice)
  • Zahava Solomon known as Herself (voice)
  • Ron Ben-Yishai known as Himself (voice)
  • Dror Harazi known as Himself (voice)
  • Mickey Leon known as Boaz Rein-Buskila (voice)
  • Yehezkel Lazarov known as Carmi Cna'an (voice)



Supporting Department

Art Department:
  • Ya'ara Buchman known as artist
  • Michael Faust known as artist
  • Asaf Hanuka known as artist
  • Tomer Hanuka known as artist
  • Yoni Solmon known as art assistant




Production Companies:

  • Bridgit Folman Film Gang
  • Les Films d'Ici
  • Razor Film Produktion GmbH
  • Arte France
  • Noga Communication – Channel 8
  • Hot Telecommunication (in association with)
  • ITVS (in co-production with)
  • Israel Film Fund (in association with)
  • Medienboard Berlin-Brandenburg (in association with)
  • New Israeli Foundation for Cinema and Television (in association with)
  • Radio Télévision Belge Francophone (RTBF) (in association with)
  • SBS Australia (in association with)
  • Télévision Suisse-Romande (TSR) (in association with)
  • YLE Teema (in association with)

Other Companies:

  • CinePostproduction  post-production
  • Post Republic, The  sound post-production
  • Technicolor  release printing

if (typeof afc_data == “undefined”) { afc_data = new Object(); } afc_data[“MIDDLE_CENTER”] = { channel: “test01-channel”, client: “ca-amazon-imdb_js”, title: “Sponsored Links”, help: “What's This?”, hints: “bar,surrealism,experimental film,israeli defense forces,dancing” };


  • Match Factory, The (2008) (worldwide) (all media)
  • Asociácia slovenských filmových klubov (ASFK) (2009) (Slovakia) (theatrical)
  • Cinéart (2008) (Belgium) (theatrical)
  • Cinéart (2008) (Luxembourg) (theatrical)
  • Cinéart (2008) (Netherlands) (theatrical)
  • Pandora Filmproduktion (2008) (Germany) (theatrical)
  • Sony Pictures Classics (2008) (USA) (theatrical) (subtitled)
  • Sony Pictures Releasing (2009) (Chile) (theatrical)
  • Sony Pictures Releasing (2009) (Colombia) (theatrical)
  • Sony Pictures Releasing (2009) (Mexico) (theatrical)
  • Aerofilms (2008) (Slovakia) (all media)
  • Aerofilms (2009) (Czech Republic) (all media) (subtitled)
  • Against Gravity (2009) (Poland) (all media)
  • Alive Vertrieb und Marketing (2009) (Germany) (DVD)
  • Arkles Entertainment (2008) (New Zealand) (all media)
  • Artificial Eye (2008) (UK) (all media)
  • Atalanta Filmes (2009) (Portugal) (all media)
  • E1 Entertainment (2009) (Canada) (DVD)
  • Film1 (2010) (Netherlands) (TV) (limited)
  • Filmware International (2009) (Taiwan) (all media)
  • First Distributors (2009) (Hong Kong) (all media)
  • Folkets Bio (2009) (Sweden) (all media)
  • Future Film (2009) (Denmark) (all media)
  • Future Film (2009) (Finland) (all media)
  • Future Film (2009) (Norway) (all media)
  • Golem Distribución (2008) (Spain) (all media)
  • Le Pacte (2008) (France) (all media)
  • Lucky Red (2009) (Italy) (all media)
  • Madman Entertainment (2009) (Australia) (all media)
  • Seven Films (2008) (Greece) (all media)
  • Seville Pictures (2008) (Canada) (all media)
  • Sony Pictures Home Entertainment (2009) (Argentina) (DVD)
  • Sony Pictures Home Entertainment (2009) (USA) (DVD)
  • Sony Pictures Releasing (2009) (Argentina) (all media)
  • Twin Pics (2009) (Netherlands) (DVD)



Other Stuff

Special Effects:

  • CinePostproduction

Visual Effects by:

  • Matthias Albrecht known as digital film editor
  • Alon Alpert known as After Effects
  • Markus Bäuerle known as digital lab supervisor
  • Stefan Carl-McGrath known as digital lab assistant
  • Feller Eran known as visual effects
  • Sebastian Göhs known as digital colourist
  • Thomas Lehmann known as film recording
  • Meital Miselevich known as After Effects
  • Avri Olschwang known as After Effects
  • Nitzan Roiy known as visual effects supervisor
  • Maik Strauch known as color timer
  • Roei Tzoref known as After Effects

Release Date:

  • France 15 May 2008 (Cannes Film Festival)
  • Israel 2 June 2008 (Cinema South Festival)
  • Israel 12 June 2008
  • Germany 23 June 2008 (Munich Film Festival)
  • France 25 June 2008
  • Czech Republic 9 July 2008 (Karlovy Vary Film Festival)
  • USA 29 August 2008 (Telluride Film Festival)
  • Canada 4 September 2008 (Toronto International Film Festival)
  • Belgium 10 September 2008
  • Canada 18 September 2008 (Atlantic Film Festival)
  • Brazil 26 September 2008 (Rio de Janeiro International Film Festival)
  • USA 1 October 2008 (New York Film Festival)
  • Mexico 5 October 2008 (Morelia Film Festival)
  • Brazil 17 October 2008 (São Paulo International Film Festival)
  • UK 24 October 2008 (London Film Festival)
  • Germany 6 November 2008
  • Netherlands 6 November 2008
  • Denmark 12 November 2008 (CPHDOX Festival)
  • Greece 15 November 2008 (Thessaloniki International Film Festival)
  • South Korea 20 November 2008
  • Ireland 21 November 2008
  • UK 21 November 2008
  • Hungary 27 November 2008 (Anilogue)
  • Spain 28 November 2008 (Gijón International Film Festival)
  • Estonia 1 December 2008 (Tallinn Black Nights Film Festival)
  • Hungary 25 December 2008
  • USA 25 December 2008 (New York City, New York)
  • Portugal 1 January 2009
  • Croatia 7 January 2009
  • Italy 9 January 2009
  • Czech Republic 22 January 2009
  • Finland 22 January 2009 (DocPoint Film Festival)
  • Sweden 24 January 2009 (Göteborg International Film Festival)
  • Turkey 6 February 2009
  • Denmark 20 February 2009
  • Finland 20 February 2009
  • Norway 20 February 2009
  • Spain 20 February 2009
  • Sweden 20 February 2009
  • Taiwan 27 February 2009
  • France 4 March 2009 (DVD premiere)
  • Hong Kong 19 March 2009
  • USA 23 March 2009 (Downers Grove, Illinois)
  • Argentina 26 March 2009 (Buenos Aires International Festival of Independent Cinema)
  • UK 30 March 2009 (DVD premiere)
  • Brazil 3 April 2009
  • Poland 3 April 2009
  • Czech Republic 2 May 2009 (AniFest Film Festival)
  • Slovakia 21 May 2009
  • Mexico 17 June 2009 (Foro Internacional de la Cineteca)
  • Russia 18 June 2009 (limited)
  • USA 23 June 2009 (DVD premiere)
  • Mexico 15 July 2009
  • Japan 3 October 2009 (Refugee Film Festival)
  • Argentina 21 October 2009 (DVD premiere)
  • Philippines 21 October 2009 (Cinemanila International Film Festival)
  • Japan 28 November 2009
  • USA 9 February 2010 (Glen Ellyn, Illinois)
  • Greece 30 April 2010 (Festival of Solidarity for Palestinian People)
  • Estonia 25 May 2010

MPAA: Rated R for some disturbing images of atrocities, strong violence, brief nudity and a scene of graphic sexual content



Filmography links and data courtesy of The Internet Movie Database

Waltz with Bashir (2008) Related Movie

The Eagle (2011) Movie Poster
Race to Witch Mountain (2009) Movie Poster
Jelly (2010) Movie Poster
Potiche (2010) Movie Poster
Open Season 3 (2010) Movie Poster

Posted on March 30, 2012 by Harry in Movies | Tags: , , , , , .


  1. Max_cinefilo89 from Italy
    30 Mar 2012, 2:40 pm

    Let's get one thing straight from the beginning: Waltz With Bashir isan animated documentary. It may sound like a paradox, but hey, when thefilm played at the Cannes Film Festival (which it left with ravereviews but zero awards) it was inevitably compared to Persepolis,which is an animated autobiography. The comparison was also caused byboth movies having open anti-war messages, but they couldn't be moredifferent in concept and execution. They do have one important thing incommon, though: they are animated not because it looked good, butbecause it was the best artistic choice the directors could make.

    In the case of Ari Folman, the choice was dictated by the unique anglefrom which he chose to tell the story: subjectivity. Folman, like manyyoung Israeli men in the '80s, joined the army to fight in Lebanon whenhe was merely 18 (this was in 1982), thinking he could serve hiscountry in the best way possible. Once the war was over, Folman's newcareer began, and he is now a successful actor, director and writer(among other things, he worked on the TV show that inspired HBO's InTreatment). However, he still wasn't able to completely get over thewar experience, and so he decided to make Waltz With Bashir in order toexorcise his demons, so to speak. In doing so, he delivered one of thestrongest, boldest documents about the true nature of conflict.

    Folman's introspective journey begins with the lack of memory:apparently, he and many of his fellow soldiers have trouble rememberingthe exact details of what happened in Lebanon. All they have left isdreams, like the haunting nightmare that opens the movie (26 murderousdogs surrounding the apartment of a former soldier, who believes it tobe a subconscious punishment for his killing 26 dogs during a mission)or Folman's eerie flashback of himself and his friends emerging fromthe water after a massacre he can't (or perhaps doesn't want to)remember. Engaging in a pursuit of the truth, the director locatesseveral people with first-hand recollections of those events, and allthese people (minus two) supply their own voices for their animatedcounterparts.

    The stream of personal anecdotes and, as said earlier, dreams, made itimpossible for Folman to show real footage of what he was trying tosay. After all, how do you show a live-action dream sequence in adocumentary without making it look corny? Hence the winning choice ofrendering the whole story through animation, with just one exception(the final scene, the one that justifies the film's existence, consistsof real filmed material). This gives the picture a feel that is bothevocative and down-to-earth, a bizarre but powerful combination thathas earned Waltz With Bashir comparisons with the similarly mercilessApocalypse Now. Like few other films about war (Folman has openlystated he despises Hollywood's treatment of the Vietnam conflict, notcounting Coppola's masterpiece), this strange, captivating opus depictsit without making it look cool: it's ugly, it's reprehensible, it's thestuff nightmares are made of – not for nothing does it still hauntFolman and his friends.

    Journey of self-discovery, cinema as psychoanalysis, a document aboutthe past, a warning for the future: Waltz With Bashir is all thosethings and much, much more. It's a unique piece of cinema, unmatched inits seamless mixture of raw power and peculiar visual beauty.

  2. crappydoo from New Zealand
    30 Mar 2012, 2:40 pm

    Waltz With Bashir is amongst the finest animation films I've seen. Itis a very disturbing comment on war and its consequences both oncountries and on people of both sides. No doubt this approach has beentaken by numerous other film makers; however what sets Waltz WithBashir apart is that it takes a documentary approach and comparesIsrael's activities in Lebanon with atrocities in the past wars.

    Other than documenting events, the film also consists of surreal dreamsequences and real life incidents. Thus the film emerges as a uniquecombination of the real and the unreal. The hand drawn animation alsomakes it a delight to watch. The colour gave it the right atmosphere ofclaustrophobia in open spaces and the background score is fabulous.

    It is certainly not, as the Director of NZ Film Festival announcedbefore the screening, a 'feel-good film'. It should appeal to peoplewho have an interest in animation, documentaries, war and currentaffairs. 10 out of 10.

  3. (keren@actcom.co.il) from Israel
    30 Mar 2012, 2:40 pm

    I just came back from watching the movie. I found it interesting andunique. The animation in the film is magnificent and enables thedirector to really "go wild" with his ideas, without having to be"chained" to what reality filming can give him. The main Character, ison a journey, trying to collect as many memories as he can of the timewhen he was a young soldier, at war. This journey is so well done,touching, interesting. The man, Ari, slowly revels his past, and wefollow him, to an amazing trip down memory lane. Memories that werehidden for too long. An amazing movie that makes you think about life,people, and the complexity of war.

  4. LoneWolfAndCub from Australia
    30 Mar 2012, 2:40 pm

    Israeli director Ari Folman's Waltz with Bashir is easily the standoutfilm of 2008, with its surreal animation style and abrupt way ofportraying such a horrific event. The event being the Sabra and Shatilamassacre, in which Palestinian men, women and children were massacredby Christian Phalangists as revenge for the assassination of theirleader Bashir Gemayel. The Israelis did not perpetrate the killings butdid nothing to stop them, even sending flares into the night sky toassist the Phalangists.

    The story follows Ari Folman, who meets a friend in a bar who tells himof the nightmares connected to his experiences from the 1982 LebanonWar. Folman is surprised to find out that he does not remember a thingfrom the same period. Later that night he has a vision from the nightof the Sabra and Shatila massacre and does not know if it was real ornot. In his memory he and his soldier friends are bathing at night atthe seaside of Beirut to the light of flares descending over the city.Folman rushes off to meet another friend from his army service, whoadvises him to discuss it with other people who were in Beirut at thesame time. The film follows Folman in his conversations with apsychologist and reporter Ron Ben-Yishai who was in Beirut at the sametime.

    There are a few people who need to be congratulated here for their fineefforts in bringing this amazing film to life. David Polonsky, ArtDirector and Illustrator, along with Director of Animation Yoni Goodmanhave used a unique style of animation to tell a documentary/war filmwhich shows the futility of war boldly. Although animated, the filmfeatures graphic violence and some of the most disturbing images I haveever seen. In particular, a scene showing horses dying in the streetsis unflinchingly tragic and another scene showing families being shotis beyond depressing. This movie would probably not have had the sameimpact if it were not animated.

    The music, which features rock, Bach, Chopin, Schubert and an originalscore by Max Richter adds an incredible amount of depth and emotionalimpact to the already challenging imagery. The scene from which thetitle is named after, in which one of Folman's fellow comrades waltzesin the middle of gunfight, firing a heavy machine gun while surroundedby posters of Bashir, is magical as well as mystical.

    Waltz with Bashir is truly a must-see film; however, it is soconfronting and sad. This is necessary, though, to show thepointlessness of war and the effect it has on people. This is evidentin the last seconds of the film, when real footage of the aftermath ofthe massacre presents dark and graphic views of corpses. You will notleave the cinema happy, but you will leave feeling the power of a pieceof art you will not forget anytime soon.


  5. Hige_Akaike from Israel
    30 Mar 2012, 2:40 pm

    I think working on this movie for 4 years is long enough. You obviouslymissed the whole point. The point of the movie is not to point theblame at anyone, it is about showing the reality of war and what theaffect it has on Soldiers.

    It's not about who won, who was right, or who did what wrong. Its abouthow people react to it and how it affects the people who are involvedin it. Yes it showed only the Israeli side of things, but hey, itsbecause it's on the Soldiers point of view, how they saw it, not howeveryone saw it, not how the other soldiers. It shows his point view,and the interviewers points of views. Thats why its like this.

    And that is why it makes it so real. It is very well done.

  6. dromasca from Herzlya, Israel
    30 Mar 2012, 2:40 pm

    Ari Folman first movie was a great promise, but more than a decadepassed since then and with only one feature film, and several TV serieson the record his career seems to be stagnating at best. Here he comesnow with a film that is so sharp, surprising and different – one of thebest Israeli films ever in any genre.

    Choosing to do an animated feature about the beginning of the firstLebanon war in 1982 and the collective trauma and amnesia caused bythis war to its heroes – young soldier torn down from their first worldlife to be thrown in the violent absurdity of war – and the wholeIsraeli society is both a daring and natural thing to do. Daringbecause this film is after all a documentary about the search to thelost memory of the director about his own presence in war, and thejourney to recover it by means of interviews with his fellows in arms.The real life persons are recorded while giving the interviews whileextremely accurate drawn images play the visual role (one of thepersons interviewed is a famous journalist showing up often on TV). Asrealist as these scenes are, it is hard to imagine how difficult itwould have been to bring on screen the fighting scenes, or to play thetrauma of the young boys shown into a terrifying and nightmarishreality. So animation was the right and natural choice. Without usingspecial or expensive effects, the dreams and nightmare scenes are bothcatching and terrifying, reflecting the traumatized souls of thedreamers (one won't forget easily the opening scene).

    Yet, the message of the film is far beyond the personal message. Whendreams (or better said nightmares) dissipate the deep-buried realitygets back – the massacres in the Palestinian camps become real onscreen, and this is the only place where Folman uses fragments offilmed material rather than animation. The nightmare became reality andits a grim one. Without ever leaving the personal and emotional plans,the political statement about a war with no winners is made loud andclear without the need of being explicit.

  7. GHCool from Studio City, CA, USA
    30 Mar 2012, 2:40 pm

    I saw this film at the AFI Film Festival a couple of months ago and itstayed with me since then. This is not your typical war movie, nor isit your typical animated film. I'd say its kind of a cross betweenWaking Life and Grave of the Fireflies.

    The film takes place in the present. The film's director, Ari Folman,comes to the realization that he cannot remember anything from the timehe served in the Israeli army during the 1982 Lebanon War. The bulk ofthe movie are his interviews with his old army friends where he asksthem what they remember from that time. Folman tries to see in theirmemories something in himself that has been missing, deadened, ordulled. Like Waking Life, there is no "plot." The filmmaker prefers amore interview-based film. This is an "idea film," a poetic film, andtraditional narrative style takes a back seat.

    Like Grave of the Fireflies, the animation in Waltz With Bashir showsthe horror of war and its effect on individuals in ways that a liveaction recreation could never replicate. The film's themes of humanmemory and its elasticity are served well by this technique. Ratherthan a soldier escaping death by hiding in the sea, we get thelarger-than-life memory of a soldier escaping death that would look too"real" in a live action reenactment.

  8. rogerdarlington from United Kingdom
    30 Mar 2012, 2:40 pm

    Animation is not just for children – the French "Persepolis" (about agirl in Iran) made that clear and the Israeli "Waltz With Bashir"(about the invasion of Lebanon) dramatically underlines the point. TheIsraeli work was written , produced and directed by Ari Folman and isbased on his experiences as a soldier and his video of his explorationof the traumatic events some 20 years later. Like any really powerfulfilm, the opening and closing sequences are stunning – but theintervening one and half hours contain so many moving and disturbingimages – some simply surreal – that the animation plays in the mindlong after the credits have rolled.

    The title is a reference to Bashir Gemayel, the newly appointedPresident of Lebanon, who was assassinated on 14 September 1982following the Israeli invasion of Lebanon on 6 June 1982. Theassassination led the Israeli command to authorise the entrance of aforce of approximately 150 Phalangist fighters into the Sabra andShatila refugee camps, resulting in a massacre of at least 800civilians. It is this horrific incident that is the emotional heart ofthe movie and the cause of Folman's mental repression.

  9. Anonymous
    30 Mar 2012, 2:40 pm

    Waltz with Bashir may not deliver everything you expect after seeingthe trailers, but it is powerful. Director Ari Folman presents apersonal view of historic events in which he took part as a youngsoldier, but which he cannot remember due to repression. A full-lengthdocumentary, filmed with animation over the recorded speech of actualparticipants in the 1982 Lebannon War, Waltz with Bashir is beautifullydone and get its message across clearly.

    It's a shame that some of the stronger artistic points in the moviewere left undeveloped, such as the imaginary ghost of the soldier'sex-girlfriend following him around (as seen in the trailer). The waycomedy and tragedy are interspersed in the latter parts of the film mayalso seem inappropriate to some viewers. The film presents a highlypersonal point of view for a documentary, justified partly by stayingtrue to the factual material, and partly by its author having beenthere on the scene.

    Overall, despite its shortcomings, this film makes a strong statementand is definitely worth seeing for its visuals and score.

  10. unreadpages from Australia
    30 Mar 2012, 2:40 pm

    If you're expecting the standard action anime think again. Startingwith the pack of snarling rampaging dogs that opens the action, this isone of the most powerful films I've seen, quite shocking, and thetechnical switch to real news footage at the end brought me as close asI've ever been to throwing up in a movie theatre. You'll see what Imean. The surrealistic power of animation is fully exploited in thedream sequences and flashbacks of this story which at one level is apsychological exploration of traumatic memory. But the film goes farbeyond the personal and delves into a particularly nasty few days ofthe Israeli occupation of Beirut in 1982 involving an unholy collusionwith, as I said, gut-wrenching results for humanity.

    Will this win further enemies for Israel as one of the reviewers said?I hope not, and the courage of the film's official Israeli backers isappreciated. What the film shows is that we all, Nazi and Jew, Muslimand Christian, smart and stupid, are capable of some pretty inhumanbehaviour if we allow ourselves.

Leave a Reply