Gett: The Trial of Viviane Amsalem (2014) is a French drama directed by Ronit Elkabetz and Shlomi Elkabetz that raises questions on gender roles, religion and power play. The film tells the story of middle-aged woman Viviane (Ronit Elkabetz) who is requesting a divorce from her husband, Elisha (Simon Abkarian) in an Israeli civil court.
In Israel, civil marriage but not civil divorce is recognized, and a divorce may only be granted to a woman if she can provide significant proof of abuse or if her husband agrees.
While the film runs nearly two hours, each moment feels warranted and focused. The film’s length also contributes to the viewer’s sense of how much time has passed since the trial began: a total of three years.
The film is discreet and does not give the viewers, or the three Orthodox male judges present to hear the case, much backstory or information as to why the couple would like a divorce. What is clear from their facial expressions, however, is that there is a deep rooted coldness between them.
The film is simplistic with its settings and is set entirely in a small courtroom, making the viewers feel like they are present and serving as judges, encouraging them to evaluate whether or not the arguments made are true and have validity. As the intensity of the drama increases, the room becomes claustrophobic. The four walls in which the story is contained begin to smother Viviane as well as the viewer, who is never visually prone to Viviane’s life outside the courtroom.
But Viviane Amsalem is a strong woman and continues to push for her right to divorce, regardless of how dubious it is that she will be granted this wish. Her determination to receive a divorce from a husband whom she claims never loved her is noticeably incomprehensible to the judges. They begin to challenge her womanhood as the trial becomes more tiresome, highlighting some of the deep-rooted gender inequalities that can stem from religion.
Viviane claims that there is no love in the marriage, even if they both agree that as individuals they are honorable and seemingly good spouses. The brief glances that Viviane and Elisha share from across the small courtroom are intensely sterile. Slowly, Viviane reveals that she wants to be free of her husband because he loathes her. If this is the case, why will he not let her go? It seems that Elisha’s pride and his religion have confused themselves with emotion.
Various friends and family members enter and leave the courtroom, each offering their own testimony in the form of a story or advice regarding Viviane and Elisha’s relationship. But their own biases and insecurities begin to color their words, only complicating the situation for those involved. The parties’ lawyers also begin to unravel and become emotionally invested in the trial.
Elisha’s brother takes a conservative stand, insisting that according to Jewish law, Elisha has done nothing wrong so there should be no dissolution of the marriage. He accuses Viviane of not upholding the Jewish customs that Elisha holds close to his heart.
Meanwhile, Viviane’s lawyer Carmel (Menashe Noy), who is clearly more liberal and understands Viviane, grows frustrated with the court. As he becomes more adamant, he is questioned about his feelings toward Viviane. That a woman should be free because of her own will is not understood nor recognized by the court or by Elisha while every other minute detail surrounding the case is inspected.
It becomes almost comical each time a subtitle details how much time has passed since the last date. Comical and yet incredibly disturbing that the court has allowed this painful farce to continue. Viviane is being suffocated by her husband, but she remains strong and determined to obtain her freedom. While initially he may have seemed the dominant party in the eyes of the judges because of his legal right to refuse a divorce, by the end of the film he is the coward.
The court becomes tired of his antics — his refusal to show up in court until threatened with jail time and his stubbornness to admit any of his flaws. Viviane becomes the stronger party. The court nearly sympathizes with her, growing frustrated with her stubborn husband. But their rigid and antiquated views of women hold them back, and they refuse to interfere with what is law. Viviane remains restricted by both her husband and the court.
After three years of trying to rationalize with the court and with her husband, Viviane is granted a divorce. Her husband does not simply let Viviane go, however. Even after Viviane is free under the law, she remains restricted by a promise made to him.
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