Foxtrott – a groteszk visszatérés mítosza
Foxtrot – the Myth of Grotesque Return

Summary/Abstract: In our article we analyze the symbolism and referentialness of the fi lm directed by the Israeli artist, Samuel Maoz, entitledFoxtrot. We fi nd that the fi lm has a circular structure but also a synecdoche-like structure. We compare the referentiality of thisfi lm to Maoz’s creation in 2009, called Lebanon, and we note that the author has remained faithful to the same irony and thesame grotesque leitmotifs illustrating the tragic periodicity of intercultural confl icts and those of members of the same culturalcommunity. We refer also to Israel’s criticisms of the fi lm and we analyze the relationship between the fi lm and these criticismsfrom an aesthetic point of view. We also notice that this fi lm practically deconstructs the myth of the bold soldier - as Lebanonalso did – and that through the grotesque episodes that alternate with tragic episodes, the movie shows a bitter criticism ofthe wars.

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