A former soldier in the Israeli army is haunted by the memory of a collective murder he took part in years ago against Palestinian civilians. Now, he is no longer able to see his actions as the right and justified response to the initial attack of the opposing side, in which six of his colleagues had lost their lives. He can only remember the carnality of the crime and the satisfaction, following months of boredom having lived an anodyne life in a training camp, of feeling, when pulling the trigger, like the heroes in American war movies. Urged by filmmaker Avi Mograbi, he starts keeping a video diary to confide in, seldom directly to the camera and more often than not through dialogues with his girlfriend, who is critical of his irresponsible past behaviour. Fearing retaliation from the victims’ families, his real identity is concealed and his face continually gets digitally reconstructed in dozens of different variations. And this isn’t the only way in which “Z32” turns this rather insipid boy into the voice of an entire generation of Chuck Norris and Arnold Schwarzenegger wannabes, drawn into the army with the promise of a spectacular life. Mograbi’s intelligent, playful and musical commentaries — accompanied by his son or by an orchestra - constantly interrupt the stories the protagonist is telling and expose the accountability and hypocrisy of a society that carelessly sends its young members on unjust, vengeful missions, only to shun and blame them for their actions later. “Z32” is one of the most compelling films of the decade. (Andrei Rus)