Amos Gutman—better known for contemporary melodramas such as Bar 51—has based his latest film on a patriotic best-seller celebrating one of the most heroic—and painful—moments of the creation of the Israeli state, namely the siege of Jerusalem in 1948. In this claustrophobic movie, though, the Enemy is never seen, and the struggle between good and evil takes place within the narrow confines of the Holy Cross monastery, transformed into a makeshift hospital, emergency OR, and morgue. Food, medicine, and water are sorely wanting, wounded men scream at night and have to be operated on without anesthesia. Into the middle of this explosive situation walks blond, innocent Hamutal Horowitz, whose fiance has been killed in action, volunteering her services as a nurse. While she immediately becomes the prey of the not-too-subtle advances of her patients, she falls in love with Himmo, once the most handsome lover in Jerusalem, now blind and mutilated. From the callous surgeon to Himmo’s pimp brother, Hamutal’s inner grace gradually touches the hearts of the “”wolves” around her, while Himmo keeps screaming “”Kill me! Kill me!” I do not share the admiration expressed by some of my colleagues (such as the London Times‘s David Robinson) for the film, being quite irritated by its heavy melodramatic aspects, Alona Kimhi’s performance as Hamutal, and the droning chords that gloomily punctuate the action. I also wonder why such a movie—produced with the assistance of the Israel Fund for the Promotion of Quality Films—was chosen to represent Israel in a number of film festivals in Europe and America, while more interesting, innovative, and controversial works (in terms of form as well as content) such as Rafi Bukay’s Avanti Popolo, Orna Ben-Dor Niv’s Because of That War, or Ram Loevy’s Bread have yet to be shown.