Central to this process in the films you direct are your signature long takes. They are making love, but they are also mixing these paints, and the result is this dark green. It's like she puts military camouflage on him before he goes to war. Later, when Weinraub appears on the battlefield, caked in mud, it matches graphically. And as the colors of the two nationalities that claim the Holy Land are associated with the soil itself, the association is extremely symbolic and political.
War is a very strong force that breaks things apart, and that is what it does here.
It breaks the ritual in two. I like how cinema can communicate associatively like this. And then I put this scene at the end again in order to make a big sort of parentheses in which the war is situated. War is a very strong force that breaks things apart, and that is what it does here. It breaks the ritual in two.