The Cakemaker, the latest offering from Israeli director Grazier, tackles the difficult subject of bereavement through the story of a man and woman both grieving the death of the same lover. Oren is married to Anat (Adler) and living predominantly in Jerusalem, but also spends part of the year in Berlin where he lives with Tomas (Kalkhof). Following Oren’s death, Tomas heads to Jerusalem to understand the life his lover led with his wife and child.
Death and sexuality is handled in an understanding and subtle way by Grazier, with bereavement and love depicted in a manner of forms and always in a non-judgemental way. Love is shown as existing between two men, a husband and wife, a mother and child – and none is seen as purer or more important than another. Each transcends culture, religion and gender seamlessly.
The performances are as understated and delicate as the tinkling of the piano-led score that gently guides us through this beautifully fragile film. ‘Cakemaker’ Tomas’ words are few and far between as he finds himself in an unknown territory where he has to get to grips with Jewish traditions such as Kosher cooking and Shabbat. As he befriends his lover’s widow and son, and then begins to bake his famous cakes and biscuits, he begins to exude confidence and truly grieve his lost love. However, everyone seems mostly unaware that this new visitor ever knew Oren, that is except for Oren’s mother, who seems to know a lot more than she ever lets on.
The Cakemaker is a delicate film that perfectly encapsulates love in its many forms, never favouring one story over another. In a time when both religion and LGBTQI rights are in constant discussion in the press and personal lives, this is the film that transcends all boundaries.
CAST: Sarah Adler, Tim Kalkhof, Zohar Shtrauss, Sandra Sade
DIRECTOR: Ofir Raul Graizer
WRITER: Ofir Raul Graizer
SYNOPSIS: A German pastry maker travels to Jerusalem in search for the wife and son of his dead lover.