Director Hilla Medalia is back to her two standard disciplines: Gaza Strip and documentaries. This one here also has massive focus on dancing. After seeing the fictional movie "Bethlehem" not too long ago, I decided to follow up with this one here as a new addition to the difficult Middle East topic.This documentary centers on children from an Arab and a Jewish school who are told to dance together and participate in a contest. Besides the kids, the central character is former professional dancer Pierre Dulaine, obviously quite a character. You can either love or hate him. Only one thing is possible. Sometimes he seemed genuine, sometimes he seemed way over the top and there were some cringeworthy scenes like when he randomly invited his dance partner from decades ago. That's why the real highlight of the film were the children. There were a handful scenes that were pretty cute and funny at the same time, like the way they didn't want to dance with each other initially or the look in the face of one little boy, always skeptical, which was probably his nature. Or maybe it was just a false impression as he was dancing later on with one of the girls. The invitation for the boat trip was pretty cute too.The film is at its weakest in the first half when we basically see American Idol like drama that Mr. Dulaine is not able of convincing the kids to join in and dance and overcome the obstacle of their origins. It all seems so fake and forced. Very much scripted drama. As the documentary progresses, it gets much better. May be a mean thing to say, but the reason for this could have been that Dulaine had less screen time and the kids became the real center of the film. He certainly is an inspiring personality and the trigger for the children to accept each other for what they are, but still his behavior often seems as if he wants this story to be told around him and not about the mentality of acceptance.Despite this approach, you should not watch the film as the ultimate solution to the Arab-Israeli conflict, but just for its positive message and maybe for a glimmer of hope that things may look different in 20-30 years when the next generation has arrived. On a final note, I want to add that I really liked the ending in which the Arab-Israeli team did not actually win the competition would have been too expected and cheesy). This was not necessary so that you will leave the theater with a smile, which also arises from several scenes and entertaining dialogs like the one mentioning a sperm bank. You will know what I mean when you watch it. Go for it.

Pierre goes back to his native town, and he has a mission: to give back to the children of Jaffa something that has meant much in his life: the ability to enjoy life, to heal, to improve, to have a new perspective in life, to change your life. What for him appeared to be an easy task soon proves to be an almost impossible challenge. In the beginning it looks like he's about to give up because social, political and cultural events have shaped the history and beliefs of the community; it looks like music and dancing might not be enough to alleviate some of the pain the city has and is still going through.This man won't give up, and he uses every possible resource at hand to charm and convince the reluctant students. There are just too many differences between the Jews and the Palestinians. Some of the children are aware of the situation. Others don't understand why there is tension, and others are more open minded and willing to change the status quo, but it appears this is the minority.Add to this, individual problems in many of the children's lives. Noor is still trying to overcome the loss of a parent. Other children live in poverty and haven't been exposed, relate, or have the means to fully participate. Worse is the fact, that there's fear of the unknown and the inability to see that, as the teacher mentions in the film, labels are unnecessary because everyone is the same.Magic happens when an old dance partner shows up, charming the kids with her amazing personality and grace. There's genuine sympathy and affection, and the door opens. Slowly, some of the kids warm up, train, begin moving to the beat of different dance genres. They want to go all the way to the finals, and it's heartbreaking to see a preliminary selection. The film gets close to the children, and it shows the resentment and disappointment of those who couldn't go to the next level.More surprises come before the end, and at first, we fear more setbacks, but things get better, more emotional, more intense, and we reach the final competition, a moment where differences disappear, and everyone concentrates on a common goal: to participate, to enjoy, to win, and to see the universal elements in all of us. There is a moment when the results are given, and we see an explosion of joy, but we don't see the faces of those who are the runner ups. Maybe it's not needed because the contest organizers come up with a very nice way to make everyone feel like a winner. It's truly a fantastic way to show unity, admiration, recognition, and respect."Dancing" goes beyond the usual documentary by exploring the background of a society and showing the past, present, and the possibility of change in the future. There is hope that these children will be seeds of change and help close the chasm that now exists. It's a lovely work of art, a way to show us there's still goodness in the world, and that we might never understand why our feet move to the beat, and our hearts beat in unison, but as long as that is possible, we have a chance to keep going until we feel safe and happy again.

-- This review may contain spoilers -- I saw this at the Tribeca Film Festival. It's amazing that one man could have three movies made about his work, but that's the case with Pierre Dulaine. Mad Hot Ballroom was a surprise hit (for a documentary), being shown in theaters for six months. Take the Lead was a dramatization, with Antonio Banderas playing Pierre. That was much more Hollywood-ish, but there was a tango in it that was worth the price of admission! An obvious question is whether Dancing in Jaffa is just Mad Hot Ballroom set in the Middle East. I don't think so. I like movies that turn out to be about something other than what you think they are. People may buy tickets for this because they liked MHBr or like ballroom dancing, or have heard of the Dancing Classrooms program, and they'll be glad they did. But my takeaway was more about the Middle East than anything else, and a team of Clydesdales couldn't drag me to see a film on the Middle East. After all we've read, the decades we've seen of strike (and the centuries of strife before that we know about), the endless rounds of peace talks, truces, terrorism, protests, evictions, posturing, threats and war, I never want to hear about that place again. And yet, we need to. DiJ gently, very gently, exposes us to slices of life we'd never see, bitterness and sweetness, but doesn't drift into the saccharine.Kids get rescued by the most unlikely people and the most unlikely activities. Chess ramps up the mind of a boy in the ghetto. Choir keeps a young girl from hanging out with the wrong crowd. An environmental program rounds up toughs to clean an urban riverbank and one of them becomes a biologist. Still, ballroom dancing seems a particularly obscure way to approach this. Dulaine himself admits it. But it's his life, so naturally he deploys his tool. He was born in Jaffa so you can't criticize him for cultural imperialism or some such. It's a worthwhile program and is continuing there, and in other cities around the world.It's a worthwhile film, too. More than an advertisement for a particular NGO, it's a testament to the power of one person, using this implausible approach, to do something that at least brightens the days of some children. Twenty years from now, I'd like to hear the interview with someone who advanced out of poverty or depression, who when asked what spurred him or her on, begins his or her answer with, "well you're not going to believe this, but the turning point for me was a foxtrot in the fifth grade taught by this guy named Pierre Dulaine…"

The advance billing for Hilla Medalia's 1st feature-length film talks about overcoming the political & cultural differences between Palestinians and Israelis. Regretfully, Dancing in Jaffa under- delivers. Pierre Dulaine is an international ballroom dance champion who helped found the New York-based non-profit, Dancing Classrooms. Dulaine decides to export the dancing lessons to the city of his birth, Jaffa, which is now a poor Arab suburb of Tel Aviv. Today, Jaffa is very much a divided city and Dulaine decides to bridge these differences by working with students in both the Jewish and Arabic areas of the city. The result is a "feel good" competition involving young people from both sides of the divide. Ballroom dancing requires touching, but is this bridging cultural and political differences? Hardly. The political and social divide is great, and importing dancing from USA is more about entertaining than overcoming political differences. Palestinian aspirations for self-determination in the face of an ongoing Israeli occupation are unfulfilled, and Dancing in Jaffa is but an American-centric footnote in this never-ending struggle.