The Israeli director Ari Folman’s audacious Waltz with Bashir is called an animated documentary feature by its producers. It is much more than that – or at least, that is only one convenient way to describe it. The film moves towards a real mystery – a hole in memory – and it uses real people, searching their memories, to do this. And yet, because Folman has so deftly layered the work with elements of his own and others’ obsessive fantasies and dreams, the small part that is not straight documentary gains a power beyond its weighting. In the process, Waltz with Bashir is transformed into one of the most unusual and compelling war films of recent times.