Between the Temples
★★ 1/2
If Harold and Maude wandered into a contemporary synagogue and bumped into a Jewish grief-comedy, you’d land somewhere near Between the Temples. This indie charmer—equal parts heartfelt and offbeat—follows Jason Schwartzman as a grieving cantor whose life gets a much-needed emotional tune-up when his old elementary school music teacher (Carol Kane) reenters his orbit… ready to convert to Judaism.
Director Nathan Silver (you can feel the 70s film school influences here) gives the story an unexpected rhythm, with erratic edits, ambient noise and surprising cuts that make you feel like you're watching a French New Wave rom-dram-com... in suburban New York. The filmmaking itself is kind of a star—it's not always smooth, but it’s gutsy.
Schwartzman, who seems to specialize in playing men on the verge of spiritual or existential collapse, is in fine form here. His sad, slightly cynical cantor is exactly the kind of guy you want to root for, even when he’s clearly stuck in a fog of mourning and mid-life meh. Carol Kane brings warmth, wit and a little chaos to the screen. Their chemistry? I didn't quite feel what the Silver wants us to feel.
This movie won’t be for everyone. If your idea of a good time involves high-speed car chases or Marvel multiverses, this one’s gonna feel like wandering into a deeply introspective open mic night by accident. Even I found it a little hard to fully connect emotionally, despite really appreciating the unique style and gentle narrative. It kind of ambles until—BAM!—a dinner table scene in the final act slaps you awake and suddenly everything clicks. It’s dramatic, awkward and weirdly beautiful. I just wish we got more of that energy throughout.
Bottom line? If you’re into slow burns with deeply Jewish existential overtones and a sprinkle of strange spiritual uplift, Between the Temples will strike a chord. If not, it might just pass you by like a solemn cantor’s solo on a sleepy Saturday morning.
