I saw this two days ago with a smallish crowd on a large campus (the usual Wednesday night group); a couple people walked out. I think several people were baffled by it (as to some extent even the prior reviewers were). The Juliette Binoche character (Ana) is bipolar: her behavior conforms(!?) to what I've experienced over the years in dealing with bipolar women (bipolar men are more likely to be angry/violent and therefore to get in legal trouble sooner or later). When you understand this, a LOT more of the film makes sense: Binoche's 'over-the-top performance', the subdued (non)reponse of the stepbrother, her foolish attempt to forge a new will for her dead father, her long-ago decision(?) to abandon her daughter in Israel, her odd 'decision' to divorce her husband (without telling him that), the fear of her antics that drove Uli to sleep in the basement with the winos rather than in the apartment with her etc. The various 'disengagements' in the film include: death, divorce, non-communication, the abandonment of an infant, the decision to sleep in the basement etc. The nature of Ana's malady is never addressed, even indirectly). The 'German aria' could have been Yiddish, fairly likely as the father was originally from Albany New York so might well have spoken Yiddish with his parents and thus would have wanted that at his wake/funeral. But since I have no Yiddish, I could be mistaken on the point. Not an easy film to take (Ana has to be endured and Uli is too hidebound for us to identify with him as much as we might like), but the film is very philosophical. And it takes you INSIDE the disengagement from Gaza: we see it from the military AND settler point of views. The very opposite of a 'feel good movie'.