Including Nadav Lapid's latest film in the programme was not an easy decision. Should we give voice to an Israeli in the face of genocide in Gaza, even if he is an emigrant and a filmmaker remaining in radical opposition to Israeli nationalism (as he proved with Ahed's Knee, 21st NH)? Ultimately, we answered this question: yes. George Grosz and his 1926 painting Pillars of Society, a caricature of the fascism-supporting elites, serve as patron saints to Lapid's film. Beyond the diagnosis, the director also borrows from the painter the fury behind every brushstroke and camera movement. Delirious, furious, ironic, confrontational, Yes is a ruthless satire, unsparing in its lack of illusions about Israeli society, about the political landscape after Hamas's terrorist attack of 7 October 2023. It is also a sneering self-portrait of artistic conformism. It is an orgiastic, bombastic film on the verge of madness, perfectly capturing the state of mind of a man entangled in his identity as if it were barbed wire. Mad dancing, drugs, pop hits bulldozed by the national anthem cannot drown out the doubts and pain that form the essence of this scorchingly hot film. Due to the courage of confronting what Israel has inflicted on Gaza, what nationalism has inflicted on Israel, we decided we want to show you this film, which will undoubtedly prove divisive, because it is the most provocative and subversive film of this year's Cannes.