Imagine a film so bold, it dares to challenge the very essence of a nation’s identity through art, satire, and unapologetic provocation. That’s exactly what Nadav Lapid’s Yes does, and it’s finally making its way to U.S. audiences after a buzzworthy debut at Cannes in May 2025. But here’s where it gets controversial: this isn’t just any film—it’s a visceral, disorienting journey through post-October 7 Israel, where a jazz musician and his dancer wife sell their souls to the highest bidder, only to be tasked with creating a new national anthem that’s as ruthless as it is rousing. And this is the part most people miss: the film doesn’t just critique modern Israel—it embodies the chaos, the surrender, and the dark humor of a society in flux.
Set in the immediate aftermath of the October 7 attacks, Yes follows Y. and Yasmin, a couple who decide to say yes to everything—a decision that leads them into the arms of Israel’s social, political, and military elite. Y.’s mission? To compose an anthem that captures the nation’s fractured spirit. But as the film whirls between satire, sincerity, and complete submission, it forces viewers to confront uncomfortable truths about art, power, and identity. Is it a masterpiece or a provocation? A mirror or a sledgehammer? That’s for you to decide.
The trailer, released this morning, is as unsettling as it is captivating, featuring a scene where a comic licks a boot—a metaphor that’s as blunt as it is brilliant. Yes premiered at the Cannes Directors’ Fortnight on May 22 and opened in France in September, but its U.S. release is poised to spark even more debate. Opening in New York and Los Angeles on March 27 before expanding nationwide, this film isn’t just a cinematic experience—it’s a cultural lightning rod.
Here’s the bold question: Can art ever truly be apolitical in times of crisis? Or does it inevitably become a weapon—or a sacrifice—on the altar of ideology? Lapid’s Yes doesn’t shy away from these questions, and neither should we. Whether you see it as a blistering indictment or a necessary conversation starter, one thing’s for sure: this film will leave you talking.
So, what do you think? Is Yes a step too far, or exactly what cinema needs right now? Let’s hear it in the comments—because if there’s one thing this film proves, it’s that silence isn’t an option.
