written by: Guido Chiesa and Nicoletta Micheli (screenplay) and Meir Shalev (novel)
produced by: Marta Donzelli and Gregorio Paonessa
directed by: Guido Chiesa
rated: not rated
runtime: 117 min.
U.S. release date: June 26, 2026 (limited) and July 10, 2026 (wider)

“For the Love of a Woman” is a haunting love story coupled with a gripping historical mystery. It is adapted from the late, celebrated Israeli novelist Meir Shalev’s novel, The Loves of Judith, published in 2012, and director Guido Chiesa and Nicoletta Micheli have now co-written a screenplay for a feature-length film. Since I have not read the novel, I can only guess that it is more compelling and engaging than this convoluted, slow-paced, and ultimately boring film. There are glimpses of a compelling, engaging story in what Chiesa and Micheli offer here, but overall it’s an underwhelming viewing experience.

The story spans two decades, with the entire narrative woven together, until a huge revelation at the end of the third act ties everything together. When we meet fiftysomething Esther (Mili Avital, “Stargate” and “Dead Man”), she has arrived at the hospital after her mother’s death. Her story takes place in the 1970s, and it is established, albeit in a heavy-handed manner, that the Israeli-born American has been estranged from her family, and it’s not just her job as an airline stewardess that’s kept her away. She is given a letter her mother wrote her years ago, in which she makes an impassioned, yet mysterious request: that Esther travel back to Israel to seek the truth about her past. More specifically, she should find a woman named Yehudit, someone her mother hardly knew but whom she believes holds certain truths that will enlighten Esther.

Upon her reluctant arrival, Esther connects with Zayde (Ori Pfeffer, “Hawsaw Ridge”), an ornithology professor slightly younger than her. Despite his siblings’ hesitance, Zayde initially serves as a local guide for the determined and strong-willed Esther, but eventually forms an unexpected bond with her. The two grow closer as secrets of his past are revealed, showing how his connection to Yehudit ties to Esther’s past.

The story of Yedhudit (a captivating Ana Ularu, “Andor” and “Inferno”) takes us to the 1930s, a time when Israel was still known as British Mandate Palestine. Yedhudit, or Judith, arrives at a settler’s village with an air of mystery about her. No one knows her backstory, just that she seemingly has no ties to anyone, yet she nevertheless catches the attention of three men in the village. She is looking for work and is taken in by a short-tempered, grieving widow, Moshe (Alban Ukaj, “Quo Vadis, Aida?”), who is overwhelmed with the responsibilities of his daily tasks and also caring for his two children. She opts to stay in the stable where his cows are, knowing how it will look if she sleeps under the same roof as her widowed employer, and takes on manual tasks while overseeing the children. Nearby neighbor Yakov (Marc Rissmann, “Andor” and “The Amateur”) has his eyes on Yedhudit, developing an obvious obsession that the whole village can see, which doesn’t make his wife too happy. Globerman (Serhiy Kysil’), a shrewd cattle trader, also takes an interest in Yedhudit, and he’s the one who gets her the job working for Moshe.

Despite her disinterest, Yedhudit winds up changing the lives of these three men. She makes it clear she has no interest in becoming romantically involved with anyone and is simply there to work, like anyone else. While they are alarmed by the alarming whaling sounds she makes each night from the stable, none of them ask her if she’s alright. Yet to the three of them, she hangs the moon. We can clearly see that none of these guys is worth her time and energy. When she suddenly becomes pregnant and gives birth to a son, all three men claim to be the boy’s father.

None of this bizarre development makes sense, nor is any of it earned, and it’s one of the many convoluted and forced elements of “For the Love of a Woman”. There’s clearly something missing here, because what’s onscreen doesn’t match the film’s title, leading one to believe there must be a good deal lost in adaptation.

While the best characters in “For the Love of a Woman” are the two prominent women, played by Avital and Ularu, it’s their performances, not their writing, that make them stand out. Both women convey multitudes without overdoing it, which grounds the film’s tone and keeps it free of any soapy elements. The same cannot be said for the thinly realized characterization of the three men who supposedly love Yedhudit. Pfeffer’s Zayde is the only multidimensional guy in the film and has an arc just as interesting as Esther’s.

The film’s look isn’t very flattering, and much of that is due to the color-grading decisions. The 1970s era is drab, stuck in a grey-scale color palette, and minimal lighting isn’t very complimentary, while the visuals of the 1930s are often oversaturated and unflattering.

Between the character inconsistencies and bland visuals, getting through “For the Love of the Woman” is an endurance test. Whatever tragic tale of romance and family love found in the novel is absent in this adaptation. By the time the poignant revelation comes, no one will fault the viewer for becoming overwhelmed with confusion and exhaustion.

RATING: **