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Lack of good storyline.

Good movie but grossly overrated

It's complicated... I really like the directing, acting and writing but, there are issues with the way it's shot that I just can't deny. As much as I love the storytelling and the fantastic performance but, there are also certain scenes that didn't need to exist.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

The female heart is shared through four, perhaps five female roles, and a token male. I say token because, perhaps like in the lives of all women as they compete with one another yet strive mutually for acceptance, men can often be little more than an accessory. Here the hopes, pains, and disappointments of wives, mothers, daughters, and career women are shared in a very poetic and imaginative way. Wonderful cinemoatography. The use of setting is especially effective.

I just saw this movie on Sundance Channel. Maybe my opinion is unique, but I think this movie is about how we all experience and deal with abandonment in life. Batia, abandoned by her parents from childhood, has in effect even abandoned herself. She sees herself in the mystery child, alone and unable to communicate. When the child disappears, did the child abandon her or did she abandon the child by yelling? As she grapples with the dilemma, she faces her own childhood disappointment which she describes to a friend in the memory of an ice cream man on the beach. In the poignant scene Batia says, "They promised he'd come back." The friend reassures, "Don't worry, he's always around." I think in the end, her friend and the child help Batia to heal and finally feel secure about drifting through the great sea of life.In the second story, will the bride and groom abandon one another when marriage, like their tiny hotel room, is uncomfortable and feels confining, or will they learn to expand in their appreciation for one another and grow even closer? I disagree with the GOOFS section because of what must have been said in the unseen part of the story where Keren explains on why they must go downstairs. I think he knew full well when the handwriting changed because at that point he handed over the paper as he acknowledges there is more to his new wife than he realized. Together they gaze at the sea contemplating.Lastly, Joy watches as parents are abandoned by children and children abandon their parents. All she can think of is crossing the ocean to get back to her little boy.I loved this movie! Maybe I healed a little bit in watching it.

When the film started I got the feeling this was going to be something special. The acting and camera work were undoubtedly good. I also liked the characters and could have grown to empathise with them. The film had a good atmosphere and there was a hint of fantasy.However, as the film went on, the plot never appeared to takeoff and just rolled on scene by scene. I was unable to understand the connection between the stories. All I could see was the characters occasionally bumping into each other and references to ships in bottles. Without that connection, I was just left with a few unremarkable short stories.Am surprised it did so well at Cannes

As much as I have admired what films that Isreal has produced (at least what I have seen,so far), I figured, there's bound to be a least one clunker in the batch. I have to admit, Jellyfish (or as it is known in Isreal as Meduzot)suffers from one too many unresolved plot lines. One plot line is a young woman who finds a nameless young girl who follows her around after a day at the beach. Another is a pair of newlyweds who seem to have a rash of bad luck on their wedding day. There are at least a couple of other plot lines, that don't even attempt at any kind of cohesive whole. The acting seems to be on the mark, but I just couldn't find any kind of narrative thread to hold it all together. Hava Nagila, indeed.