Last year’s autobiographical [Waltz with Bashir] looked at the Israeli-Lebanese war of 1980s as a series of remembrances wrought in animated images. With [Lebanon], Samuel Maoz examines the same conflict as seen by a group of soldiers in a tank. Following commander Assi, Herzl, the loader, Shmuel the gunner and the driver Yigal on what should be a simple clean-up mission, the four young men disobey orders, panic, and wind up killing civilians. There is an universality to the film?this could be any war?that lives in its portrayal of the solider as inherently unfit for duty. None of the men has any burning desire to kill, which sets [Lebanon] apart from traditional images of soldiers as either consummate professionals or trigger happy thugs. Unlike the more philosophical earlier film, [Lebanon] focuses on the visceral horror of warfare regardless of what gave rise to it. Unfolding entirely within the confines of the tank, we experience the world and the war as the crew does: through a constant barrage of noise and the crosshairs of a gun.