The setting is used to sublime effect by Giladi and cinematographer Roi Rot who capture its stark beauty but equally use it to reflect the sense of mental isolation and confinement felt by both Sara and Hagit. In Sara's case she often cuts a forlorn figure against the overwhelming shades of brown, while Hagit - who is regularly dressed in vivid, brightly-coloured clothing - stands out, her joie de vivre fiercely evident. And that is really Giladi's masterstroke. Hagit is not a victim, but a spirited and strong-minded young woman whose luminous smile is enough to charm even the most reserved of viewers. Rosenblatt is magnificent in the role; gawky, graceful and full of wonder. Aptly, Wedding Doll equally subverts expectations beginning not as a gloomy drama but as a tender romance. Hagit works in a factory that makes toilet rolls - from which she fashions the titular dolls - and is in love with the manger's son, Omri (Roy Assaf). He is not entirely devoid of reciprocal affections, however, the reality of a potential future together is a difficult one to conceive - and Omri struggles to reconcile his own feelings with societal pressures. Hagit herself is too engrossed in her own romantic fantasies to understand the stark reality of her situation and it leads to a brilliantly stomach-churning amplification in drama in the final act. Wedding Doll may be a small film, but it's deftly executed and built on two remarkable leading performances.
The Toronto International Film Festival takes place from 10-20 September 2015. For more coverage, follow this link.
Ben Nicholson | @BRNicholson