'Yes' by Nadav Lapid has garnered attention for its audacious and unorthodox exploration of morality and human dignity against the backdrop of modern cinema's response to global tensions. The film tells the story of Y and Yasmin, a couple involved in performance art and various gigs for wealthy patrons, who grapple with the limits of human dignity in their unconventional lifestyle. In a striking sequence at a party, Y engages in provocative acts by allowing men to submerge his face in punch, which culminates in a vibrant dance and near-drowning scenario that Yasmin sees as a challenge to rescue him.

The context of 'Yes' reflects a broader commentary on contemporary cinema's struggle to address the complexities of our times, particularly the geopolitical environment that elicits despair and hysteria. Lapid's work stands out amid a landscape where many films fail to connect or engage with pressing societal issues, instead choosing to delve into the chaos and discomfort that often accompany artistic expression related to wealth and privilege. This tension fostered by the film raises questions about the moral implications of performance art and its role in society.

Ultimately, 'Yes' positions itself within an ongoing discourse about the nature of art in difficult times, inviting audiences to contemplate what it means to navigate dignity in a world characterized by absurdity and emotional turmoil. The juxtaposition of humor, embarrassment, and serious philosophical queries creates a unique cinematic experience, leaving viewers to ponder Lapid's artistic vision and the implications for film as a medium.