Nathan-ism

“Nathan-ism” misses out on truly analyzing and showcasing his work. It is almost as if people value Hilu and his story more than the art, which is fair because he lived during memorable times.

Mildly engaging and occasionally provocative, but myopic and incomplete.

For many veterans, the time they spent in the military was the most memorable of their lives. This is especially true for Nathan Hilu, subject of Elan Golod’s subtle, nuanced, and affecting Nathan-ism.

"Nathan-ism" is a work about memory, about the fear of disappearing and an artist's superhuman effort to get himself inserted in the collective memory of human history. For moments it lacks stakes, but Hilu ends up seducing you. [Full review in Spanish]

Nathan-ism is a great exploration of an artist who dared to speak out loud about the monsters of war, all through the very special art he made.

Ultimately concludes that it’s more about the unreliability of memory than actual dishonesty

Intriguing enough in capturing the vulnerabilities and life experiences of this 90-year-old man, Nathan-ism is perhaps most profound because it has the courage to question them.

The director-editor of this film – Elan Golod – does a fairly good job at enmeshing old footage of the Nuremberg Trials with Hilu’s recurring monologues.

Just like Hilu's art, this film might not be appreciated by many.

Nathan-Ism is an intimate portrait of a peculiar and complex artist, the individual challenge of making Art and the quest to keep memories alive and have them transcend the limits of our own existence.