More a filmed performance piece than a conventional movie, Amit Epstein’s “The Stockholm Syndrome Trilogy” — which had its North American premiere last month at the Toronto Jewish Film Festival — mashes up interpretive dance, ‘80s pop, Marlene Dietrich, and same-sex lust into a sometimes-successful fantasia on Jewish victimhood.
The titular condition, of course, manifests as “curiously positive feelings for perpetrators,” as Time magazine puts it. And in a series of surreal set-pieces, Epstein explores his own conflicting emotions — not only as a Jew spellbound by all things Teutonic, but as a gay man apparently into German guys in a big way.
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