Waltz with Bashir (2008) opens with a strange and powerful image: a pack of ferocious dogs running headlong through the streets of Tel Aviv, overturning tables and terrifying pedestrians, converging beneath a building’s window to growl at a man standing there. It turns out that this man, Boaz, is an old friend of Ari Folman, the film’s director and protagonist. Like Folman, he was a teenager in the Israeli army during its 1982 invasion of Lebanon. And the pack of menacing dogs is his recurring nightmare, a nightly vision he links to the many village guard dogs he shot -- so they wouldn’t raise the alarm -- as his platoon made its way through southern Lebanon.
The pack of growling dogs -- animal Furies -- is a striking embodiment of the violence of repressed memories, the fear and anger involved in confronting a shameful past. The rest of the film tries to answer the question posed by this opening nightmare -- what memories is this former soldier, and by extension Israeli society, pursued by? What is he guilty of?