Full credits at IMDb
Israel's 1982 invasion of Lebanon has recently inspired a pair of gimmicky, not entirely successful anti-war films. In 2007, Ari Folman combined animation and documentary in Waltz with Bashir to grapple with not only his memories of the war but with memory itself—and it was a lot more interesting to think about than to watch. Two years later, in Lebanon, Samuel Moaz has set an entire movie inside a tank—at least, that may have been the misleading description of this movie you've read before. In fact, almost half of this nevertheless-claustrophobic war movie takes place outside of the tank, in battle scenes visible to the audience and the main characters through a periscope: essentially, war footage printed with convex edges and a crosshairs over the middle. Because the periscope can "cut," sort of, between close-ups and long shots, it offers a unique perspective for viewers both diegetic and non—one with vaguely metacinematic overtones.
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