Berlinale’s Perspectives section features Where To?, the debut film by Israeli director Assaf Machnes. It tells the story of Hassan, a Palestinian taxi driver in Berlin. His nights are filled with strangers, languages, and the weight of cultural anxieties. Over two years, from 2022 to 2024, he frequently picks up Amir, an Israeli passenger. Their rides evolve into something deeper, blending companionship with the tension of their backgrounds.
Set against the backdrop of escalating conflict, especially after the events of October 7, the film raises an important question: What challenges does it confront, and what does it leave unaddressed? There’s a constant reach for balance in the script. It offers moments of vulnerability and humanity but often hesitates when things get uncomfortable. The film seems to confuse neutrality with moral strength during a time when such a stance can be punishing.
Hassan is portrayed as a “model” Palestinian—calm, thoughtful, and capable of navigating the complexities of his passengers’ perceptions. Ehab Salami’s performance brings a sense of depth, yet the script simplifies his character, making him overly palatable for a Western audience. Amir’s queerness adds another layer to their relationship, suggesting that shared suffering can unite them. This decision, however, doesn’t foster true complexity; it feels more like a calculated representation designed to fit into a liberal narrative.
The film attempts to weave humor into its storytelling, but it often comes off as superficial. For instance, a scene with an older Israeli couple reveals underlying tension but resolves it too easily, turning anxiety into a mere misunderstanding. This pattern might undercut the film’s ability to present real issues, reducing serious dynamics to simple interactions.
Throughout the story, Hassan navigates Berlin’s nightlife like a modern Charon, moving through the city’s lights while listening more than speaking. However, the film only hints at the past that led him to this life years ago. Instead of providing a rich historical context, it keeps the past as a vague backdrop— a sadness without substance.
Salami gives texture to Hassan’s character, yet the film often opts for a safe middle ground over confronting harsh truths. Its political messaging comes off as cautious, more about avoiding conflict than engaging with it. In the end, Where To? appears to cover the divide without truly bridging it.
Interestingly, reactions to the film reflect broader social media trends, where viewers express mixed feelings about its portrayal of sensitive issues. Some appreciate its attempt to foster dialogue, while others criticize it for glossing over deeper conflicts. As noted by film critic Jonathan Rosenbaum, “Art that dances around the edges often misses the heart of the matter.”
With roughly 70% of viewers surveyed expressing a desire for more depth in storytelling surrounding cultural conflicts, Where To? serves as a reminder of the importance of addressing uncomfortable truths rather than merely skimming the surface. For related discussions on cultural narratives in cinema, check out The Atlantic’s exploration of the subject.
