To say that the ensuing drama moves at a snail's pace runs the risk of offending any slugs who might be reading, but the incremental changes Yaron and his cohorts undergo are something of a slow-burning marvel to behold. Lapid is so unconcerned with crafting a conventional crime drama that merely titling his film Policeman reads as a minor subversion, a way of defining the narrative in relation to a genre it hardly fits into. This distinct approach also makes the propulsive incidents, when they do arise, all the more gripping. Near the end, a mundane wedding photo shoot abruptly turns into a hostage situation; the scene feels dire as soon as it's begun. Lapid avoids bluster even here, framing the climactic raid as something more elegiac than triumphant -- a no-other-choice response to be met with misty eyes rather than shouts of victory.