'The Cakemaker': A Delicate And Moving Drama That Questions Love Beyond Sexual Identity [Review]

KARLOVY VARY – 2017 is turning out to be one exceptional year for gay cinema with “Call Me By Your Name,” “120 Beats Per Minute” and “God’s Own Country” all earning raves on the festival circuit. That trend continues with Ofir Raul Graizer’s delicate and moving “The Cakemaker,” which debuted at the Karlovy Vary International Film Festival on Tuesday. Beyond its gay subject matter, it’s primarily a film about love and loss; the fact that Graizer can bring a slightly new perspective to a classic literary and cinematic theme is one of the filmmaker’s most unique achievements.

Tomas (Tim Kalkhof) is a baker in a small cafe in Berlin. When Oran (Roy Miller) begins stopping by, the Israeli, who is in town for business, becomes infatuated with Tomas’ pastries including the cinnamon cookies he has regularly been bringing home to his wife and young son in Jerusalem. Sparks fly, however, and soon Tomas and Oran have settled into a long distance love affair, the type of affair we’re led to believe Tomas has never experienced until now. Oran is honest about his family back home though and Tomas often asks him when he’s last made love to his wife, intoxicated by the details as they make love themselves.

Before he departs home after his latest visit, Tomas asks Oran when he’s going to tell his wife he’ll be moving permanently to Berlin (obviously to live with him). Oran lets him know that will never happen. The disappointment is apparent on Tomas’ face, but he doesn’t press the issue as he’s seemingly content with the status quo (we later learn his grandmother always told him to appreciate what you have as opposed to what you don’t). After Tomas departs Oran calls him on his local burner phone to let him know he’d left his keys at his apartment. Even after multiple messages, Oran never replies. A few months later Tomas ventures into the local office Tomas had been working at to try to find out what’s happened,  He’s shocked to discover Oran died in a car crash six weeks earlier. Tomas then does what would be unthinkable to many: he travels to Israel to try and meet Oran’s wife, Anat (Sarah Adler).

Still in mourning over the death of her husband, Anat has just decided to reopen her cafe and try to return to a normal life. She has her more religious brother-in-law Moti (Zohar Strauss) needling her over her business, but he’s a lifesaver when she needs help with her son. Tomas arrives in Jerusalem and finds Anat’s cafe. He doesn’t explain who he is, but sits for a bite to eat. He only wants to meet the woman who was so close to the man he loved. He offers his services at the cafe, but is initially turned down (and yes, it’s a bit creepy if you think about it too much and it’s probably the script’s major weakness). Eventually Anat needs assistance and offers a part-time job to Tomas who she believes is a student studying abroad. Soon, to the delight of Anat and her customers, Tomas finds opportunities to bake even if it raises red flags with Moti over the cafe’s Kosher status.

Soon Tomas’ pastry creations become a minor local hit and Anat’s business is stretching her ability to handle the workload. Anat is also experiencing a growing affection for Tomas who has never spoken or defined his sexuality with her. Her longing unexpectedly consummates in a moment that Graizer directs with a restraint and sensitivity that filmmakers with more acclaimed resumes could have easily misunderstood. It’s always been clear, however, that the facade of Tomas’ true identity can’t last forever and as Anat begins to go through Oran’s personal things, she starts to connect the dots about how her new friend really fits into her life.

Considering “The Cakemaker” is Graizer’s feature debut, he shows a masterful touch in handling material that could have easily ventured into pure melodrama in the wrong hands. There are barely any shouting matches, no slammed doors and no fits of “woe is me” dialogue screaming to the rafters from characters who are absolutely justified in doing so. Graizer often lets his actors tell the story, letting the camera linger on both Adler and Kalkhof who deliver heartbreaking performances as they convey the immense pain of their characters and often in complete silence (Adler is phenomenal during one of these moments).  And Graizer’s focus on the love scenes between Tomas and Oran are truly of two men making love as opposed to simple carnal lust. That being said, the film’s other sex scene is partially open for interpretation.

The Israeli filmmaker also is shrewd enough to not overuse the often intoxicating shots of delicious looking desserts Tomas creates while still highlighting their importance in fostering a love affair or two. Grazier equally owes a huge debt of gratitude to the absolutely gorgeous score by Dominique Charpentier and impressive work by cinematographer Omri Aloni.

What’s also most intriguing about “The Cakemaker” is how its ending will be interpreted in different ways by different audiences. Is love defined by just our sexuality? Can we fall in love outside of it? Or can we find closure in having those who loved whom we loved in our lives? It will make you ponder. [Grade B+]