critical theory with slavoj zizek: It is precisely in these times that a film like Aloni’s Forgiveness is so needed. We have to remember that a film shouldn’t intend to answer questions; it should advocate the formulation and reformulation of the questions themselves. Forgiveness is not an avant‐garde postmodern film playing with multiple narratives; it is a film that, on the one hand, thinks with emotions and, on the other hand, functions as a simple moral story, the story of a young, perplexed, but essentially honest Jewish boy who eventually learns, and becomes able to say, “I’m a killer.” This simple recognition saves him from an ethical catastrophe and acts as an ultimate moment of reconciliation; it opens the possibility of seeking redemption through accountability. And redemption through accountability is the very opposite of that which results from granting forgiveness to oneself as the perpetrator.