The issues involved are expressed more through the events that occur than from any philosophical discourse. We understand what is involved via our own observations of what Lapid and his cast dramatize on screen.

After we meet members of the group, the foremost of whom is Yaron, played sturdily by Yiftach Klein, we learn that some innocents were killed in one of the unit’s operations. There is a wall of silence around the episode, with the men in their camaraderie not about to indulge in any recriminations. In fact, they agree that any blame is to be taken by one of their number who is fatally ill. The filmmaker gives us an inside look at aspects of their personal lives, but the main build-up moves steadily toward the inevitable climax of a new assignment.

We are also introduced to a homegrown terrorist operation by young revolutionaries who plan a kidnapping to make their point that there is gross inequity in Israel, with rich people living high while others are left behind economically. There is the feeling that a few rich people being killed might make a strong political point.

The most interesting among the rebels is the doctrinaire Shira, played with mechanical passion by Yaara Pelzig. The minute we learn about the kidnapping plans we can suspect how the two stories will merge. The film moves inexorably toward a violent confrontation, which is underlined by the sadness of such internal strife and the waste of lives involved for an idealistic cause.