1: A Sheltered Childhood
A cinematic poem bordering on home movie. David Perlov films
his family, emphasizing the mutual gaze between his subjects
and the camera, and hinting at the abysmal gap between his grandchildren's
easy-going life and his own childhood in Brazil.
2: Day-to-day and Rituals
In the second part of his Revised Diary Perlov's camera
takes him from the private to the public territory. At the center
of the film is the assassination of Prime Minister Yitzhak Rabin;
but soon it becomes clear that the film transcends the objective
recording of Israeli actuality, and rather interprets it, almost
recreates it. The everyday and the ritual interweave and at
moments become one.
3: Back to Brazil
Like in Diary, Revised Diary ends in Brazil. Its
climax is a hesitating, painful visit to Perlov's childhood
home in the city of Belo Horizonte, towards which he is drawn
as if against his will. At the heart of this chapter there is
a long drive in the only remained streetcar in Rio de Janeiro:
"a streetcar named cinema, a streetcar named reality, a
streetcar named memory" (Uri Klein, Ha'aretz).