Note: This review was once part of an earlier post. I've seperated the two writeups in order to make both easier to read.
Natalie Portman really is too good-looking for words; as if to try to both raise that issue and solve it straight from the beginning, Amos Gitai opens Free Zone on a ten-minute close-up of the actress' face. Had he tried to frame her head on, it would have been overkill; nor would it have worked had the scene required her to really say anything, because as soon as that squaky voice comes out, it's all over. Instead, Gitai films her from the side, her profile taking up just one third of the screen, the rain-streaked taxi window she looks out of filling the rest of the space. The only action that takes place on screen, for a ten full minutes, takes place on Natalie Portman's face, as it produces tears and absorbs them, recovers a bit and then starts again.