the director said

Foxtrot is a four-step dance that originated in black America, and it also hints at the fate of the characters in the story: no matter how they dance, they will eventually return to the same place. Foxtrot is also a code word for the troops, and the film strongly criticizes the indiscriminate recruitment of young soldiers by the Israeli authorities. Foreign media are skeptical that audiences will be able to interpret the political metaphors in the film, which The Hollywood Reporter has dubbed the inevitable, surreal dance of fate.

Why are there eight years between the two films and what have you been doing in those eight years?

I spent those eight years mostly raising money for my next film. But I'm also doing other things, I'm writing books, doing shows, raising kids, and taking my Lebanon around the world and showing it everywhere.

It is said that this story is based on a real experience of yours?

Yes. My daughter is always late for school, and every time she wants to be late, she asks me for money to take a taxi. I think this is a waste of money and not beneficial to my children's education, so I let her take the bus to school by herself. After she left that day, the news reported that there was a terrorist attack on this bus. I was so frightened at the time that I couldn't get through on the phone until she came back an hour later, and she told me she didn't make it Get on that bus.

It's a very bad experience, what do you want to express in the film?

What I'm trying to say is that there are some things we can control, but there are things we can't control, and we can't even solve problems when they arise, like in the ending with Michelle's son's car driving off a cliff. Another thing I want to express is that the process of parenting doesn't keep you happy, but once you lose the child, you're heartbroken.

Do you believe in fate?

I don't believe that there are no lessons I can learn from what happened to my daughter.

The structure of the movie trilogy is very interesting, why use such a structure?

This is a typical three-part structure of Greek tragedy, in which the hero digs his own grave and unknowingly confronts those who want to help him. I try to let the audience of my film experience an emotional journey, and let the audience experience this emotional change: the first layer of father is the experience of shock, which is very dramatic; the second layer of son is the experience of being out of balance like a boat, drifting The feeling of going to an unknown place; the third layer of mothers is a pain in the ass. Emotional journeys are the main course of my films.

Is the plot of killing civilians indiscriminately in the movie a continuation of "Lebanon"?

Yes, but the young soldiers in this movie didn't do it on purpose, they panicked and killed the civilians by surprise. You see in the play, the soldier and the girl in the car look at each other, and for a moment you even feel that the two are in love, and then an accident happens. Unlike "Foxtrot," in "Lebanon," the bullets aren't fired.

Why is the world outside the apartment almost invisible in the movie, like the tank in Lebanon?

I want to keep exploring the critical and sympathetic part of human nature, where you can examine your own soul in a confined space. If you want to peek into a character's inner world, you can't set his world to be infinite, which won't help you convey the character's inner world.

The sound of the movie is very special, the contrast is very obvious, often this scene is silent, the next scene is very loud music or background sound, is this you deliberately created?

Yes, the idea is to bring visual stimulation to the audience and provide an immersive experience for the audience. Sound is a tool for manipulating the audience's emotions. When I score a movie, I try not to let the music affect the audience's viewing experience too much. Not only the sound is designed this way, but the image as well. My films are more experimental, like the Michelle family scene, where every scene is a combination of environment, lines and space.

You once said that every generation bears the mistakes of their parents, is this mistake still going on?

History repeats itself. In fact, many mistakes here can be avoided. Every generation has experienced similar situations, but the mistakes continue.

So you put a fatal error in every chapter of this movie to echo that?

Yes, the first paragraph is the error of the army's bad news notification, the second paragraph is the error of the soldier shooting the civilian by mistake, and the third paragraph is the error of calling the son home.

"Lebanon" and "Foxtrot" both refer to a lot of the same things, including the mentality of soldiers in Lebanon, mistakes passed down from generation to generation, and how has that changed over the years?

Actually not much has changed. The young soldiers didn't change anything in the play, they were just kids.

For viewers who don't know Israel's history, how do you balance the local and common elements of the film?

My balance method is to depict as few details as possible, to raise local elements to a certain height, and to express them in a very abstract way. The local elements I chose are like the tanks in Lebanon, where the tanks can be tanks from anywhere in the world.

How is your film doing in Israel? For example, "Lebanon", can it be released in Israel?

Of course it can be released, after all, it won the Golden Lion Award. The younger generation is responding more positively, which is a good sign, they are the future of the country.

Have you watched the new film "Shame" by a Lebanese director? This movie could be your main competitor.

I only arrived in Venice after this movie came out, but I would love to meet him, have a drink and talk with him, and talk about the authorities.