In this gripping thriller, a dogged Mossad agent must navigate a complex web of morality as he forges an unlikely bond with the family of a notorious Nazi war criminal. As he closes in on his target, he finds himself torn between duty and humanity, confronting the dark secrets of the past.

In this gripping thriller, a dogged Mossad agent must navigate a complex web of morality as he forges an unlikely bond with the family of a notorious Nazi war criminal. As he closes in on his target, he finds himself torn between duty and humanity, confronting the dark secrets of the past.

Does Walk on Water have end credit scenes?

No!

Walk on Water does not have end credit scenes.

Ratings


Metacritic

65

Metascore

6.5

User Score

Rotten Tomatoes
review

%

TOMATOMETER

review

0%

User Score

IMDb

7.3 /10

IMDb Rating

TMDB

69

%

User Score

Movie Quiz


Walk on Water Quiz: Test your knowledge on the film 'Walk on Water' and explore its complex themes and characters.

What is Eyal's profession in 'Walk on Water'?

Plot Summary

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Eyal, portrayed by Lior Ashkenazi, is a highly skilled Mossad agent known for his ruthlessness and efficiency in eliminating Palestinian targets. The film opens with a thrilling scene in Istanbul, showcasing his lethal expertise. However, his life takes a tragic turn when he returns home to the devastating news of his wife’s suicide, leaving him deeply unsettled.

His superior, Menachem (a character played by Gideon Shemer), informs him that his next mission will diverge from his usual assignments. Eyal is tasked with locating a former Nazi officer named Himmelmann, who has been evading them for years. Although Himmelmann is now elderly and his exact whereabouts are unknown, they have identified that his granddaughter lives on a kibbutz in Israel, and that his grandson, Axel, played by Knut Berger, is visiting and will need a guide from the Israeli tourist agency. Eyal is to fulfill this role and gather intelligence on the family.

At the airport, Eyal meets Axel and begins what seems to be an innocuous chauffeur job. He drives Axel to the kibbutz where they encounter Pia, played by Caroline Peters. While the kibbutz lacks excitement, the evening brings folk dancing, where Pia appears to take an interest in Eyal. However, he maintains a barrier, as he is still grappling with the loss of his wife.

Eyal covertly monitors Pia’s room, eavesdropping on her and Axel’s conversations, which suggest that the old Nazi is still alive and in contact with the family, although specific details remain elusive. As they journey through Israel’s tourist sites together, a bond forms between Eyal and Axel. Despite their growing friendship, a significant gap exists in their perspectives; Axel embraces his sexuality openly, while Eyal carries deep-seated bitterness towards Palestinians. As the news broadcasts daily reports of bombings that claim Israeli lives, Eyal’s animosity is further inflamed, contrasting sharply with Axel’s more progressive and open-minded outlook.

The plot thickens during a trip to the Dead Sea, where both men take a moment to swim in the open, shedding their clothing. Their conversation shifts from personal subjects to deeper issues regarding identity, hinting at Axel’s feelings toward Eyal. Yet, Eyal, clinging to his assertion of heterosexuality, seems oblivious to Axel’s suggestions, and silently battles with his emerging self-awareness.

As time passes, Eyal grows frustrated with the focus on a geriatric Nazi instead of more pressing matters. With Axel set to return to Germany, he offers Eyal his contact information, suggesting that they could reconnect in Berlin, an idea Eyal dismisses. Frustrated with the operation, he presents a recorded conversation to his boss without having listened to it. However, when Menachem reviews the tape, he discovers a family celebration planned in Berlin, prompting Eyal to travel there immediately.

Upon arriving in Berlin, Eyal unexpectedly reunites with Axel, who seems curious about Eyal’s motivations. An encounter in a café reveals that Menachem is watching Eyal from a distance, subtly urging him to proceed with his assignment to eliminate the Nazi, while Eyal grapples with his wavering resolve.

Their exploration of Berlin leads them to a gay club, where Eyal inquires about same-sex relationships but remains reluctant to engage. Their night takes a dangerous turn when they confront skinheads attacking Axel’s drag queen friends. Eyal fearlessly intervenes, showcasing his combat skills and fluency in German, a reflection of his family’s hidden history tied to WWII.

Eventually, Eyal is invited to the family birthday gathering, where he faces the unsettling presence of Himmelmann, portrayed by Ernest Lenart, who is gravely ill. Struggling with his mission’s morality, Eyal’s turmoil deepens, and a pivotal shift occurs with Axel, who, disillusioned by his grandfather’s legacy, decides to take drastic action by disabling the old man’s life support.

In a heart-wrenching revelation, Eyal shares with Axel that his wife’s suicide was a response to the death and chaos that seem to follow him, a truth highlighted in her note. The emotional layers peel away as Eyal breaks down, finally allowing himself to feel the weight of his grief and vulnerability, leaning on Axel’s compassion in this moment of connection.

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