Somewhere was inspired by Jerzy Kosinski's novel Being There, incorporating speeches by U.S. presidents and a quotation from one of Krylov's fables. The film adaptation, released in 1979, is a political satire that foreshadowed the age of populism in modern politics.

The story follows Chance, who has spent his life in the home of an elderly man who took him in as a child and gave him shelter in the basement. Chance was forbidden to leave the house or speak to other people. He worked as the gardener, tending to the grounds, and was allowed to watch television.

One day, the old man dies, and Chance is forced to leave the only home he has ever known. Stepping into the outside world for the first time, he attempts to reproduce the habits and routines that have governed his life.

Suddenly, he is struck by a car belonging to Mr. Grand, a wealthy businessman, president of the National Investment Company, and trusted adviser and confidant of the President, and his wife Elizabeth. They come to Chance's aid and invite him into their home to recover.

Chance, whose entire understanding of the world comes from gardening and television, unconsciously draws parallels between natural processes and human behavior. Without judgment or personal opinion, he becomes a mirror reflecting the people around him, making him increasingly popular and admired by everyone he encounters.

Unaccustomed to genuine dialogue with others, Chance allows those around him to project their wildest fantasies onto him — fantasies that ultimately remain unfulfilled.

The production examines an era in which media-generated reality dominates lived experience, and power and wealth drive human society.

It asks a fundamental question: What has happened to dialogue?

The production exposes the danger that, in an achievement-driven society, dialogue has lost its essential meaning. In its place, human relationships are characterized by either excessive intimacy or extreme alienation, both serving the interests of maintaining an image of success.

Selected speeches by U.S. presidents throughout history highlight the growing distance between words and actions. Their rhetoric often contains internal contradictions, allowing the same statements to be interpreted in opposing ways.

In this production, created in Israel in 2019, at a time when reality surpasses all imagination, the ending is altered. Its exploration of the loss of human dialogue, the media's power over our lives, and the dangers of identities and images constructed for us by the screen becomes more relevant than ever.

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Clarify the production’s central premiseCondense the repeated dialogue argument