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Much of the film is beautifully rendered. We’re treated to stunning shots of the Sea of Galilee, Jerusalem, and the Dead Sea, where the two men shower outside together, debating the merits of circumcision. “I see you know quite a lot about it,” says Eyal with a lilt of curiosity. Eyal gingerly applies sun block to his naked confidante’s back, and though it smacks of a prelude in a cheesy porn flick, the scene is oddly stirring.

Music plays a starring role in Fox’s films. The thumping soundtrack, a quirky mix of Hebrew pop, folk dance, American rock and Euro techno, is put to good use, here. The juxtaposition of Bruce Springstein wailing against a bleak Israeli landscape is exhilarating, as is the contrast of a 1960’s Buffalo Springfield tune with a haunting contemporary remake. Not surprisingly, Axel only listens to female divas while Eyal prefers rock.

Written by Gal Uchovsky, who happens to be Fox’s life partner, the narrative tension is amplified by a backdrop of very real violence—news reports of nearby terrorist suicide bombers occur regularly throughout the film.

The disconnects are disconcerting, however. It’s a little tough to swallow that the highly perceptive Axel and Pia wouldn’t realize that Eyal is no professional tour guide. Or that such a savvy spy would take days to figure out that Axel is gay. When Eyal shows up in Berlin out of the blue, his pretense rings false. Plus, the question of attraction between the homo and the hit-man, which grips our interest for a while, evaporates inexplicably.

Further, the tacked-on coda, which ties up everything all too sweetly, is as facile as it is unnecessary. And the recurrent Sea of Galilee imagery drives home the significance of the film’s title with all the delicacy of a sledgehammer.

The model-handsome Ashkenazi, who received an Israeli Academy Award for his role in Yossi and Jagger, turns in an understated, mesmerizing performance as the depressive spy. Unfortunately his character, who pouts and wears dark sunglasses too often, is a such a sad-sack he often weighs down the film.

This is not to say that Fox’s intentions aren’t noble. He believes that younger generations in Europe and the Middle East are still, on some level, haunted by the atrocities of the past. “In order to really become free, they have to make peace with it,” Fox says. This message he makes very clear.

While Walk on Water is not the brilliant follow-up many had hoped for, the effort showcases an out-and-proud filmmaker’s many fine talents, and hints of greater work to come.

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