It’s truly astounding how many individuals don’t know themselves and consequently end up making wrong-headed choices in their lives. Regrettably, that’s often the case for many in the LGBTQ+ community, who place concerns about social ostracism above personal happiness and fulfillment, giving in to the notion of “what would people think?” So it is for Ranaan (Angel Bonanni), a 52-year-old closeted gay man who fled his native Tel Aviv 30 years earlier to escape the possible ramifications of his true sexuality being discovered. His younger self (Gili Blum) emigrated to Holland after completing his Israeli military service, where he settled into a quiet life as an architecture teacher. He wisely left behind an unsuitable cover relationship with his girlfriend, Michal (Ashley Zimberg Tao). But, sadly, he also gave up a loving on-the-side partnership with an older gentleman, Itzik (Uri Banai), who was arguably the best thing to ever happen to him, largely because he was unwilling to come out and live his life in the open. However, ultimately, there’s no escaping the impact of such decisions, as Ranaan discovers when he returns to Israel three decades later to clear out his deceased mother’s apartment. This journey brings him face to face with his past when he spots an elder Itzik (Itzik Saydof) walking down the street, reviving memories of his youth through a series of flashbacks. Ranaan is also reminded of that earlier time in his life when he becomes involved with a free-spirited young man, Adir (Yotam Rotschtain), who bears a striking resemblance to a younger Itzik and reflects everything that the protagonist could have been in his youth if only he had given himself permission to listen to his heart. What’s more, this understanding extends beyond his romantic life and into his vocational calling, having rejected prospects of becoming a gifted illustrator and settling for a career in architecture for fear that his true passion would readily identify him as a gay man instead of being someone who followed a more “masculine” course in life. So now that he can’t help but confront what came before, what is he to do? This compelling second feature from writer-director Yuval Hadadi is a gripping drama about the choices we make in life and the fallout that comes from them when we don’t listen to what we’re denying ourselves and ignore the validity of that intuitive wisdom and self-awareness. That scenario is aptly explored through the picture’s superbly penned screenplay, brought to life by the filmmaker’s skillful direction, specifically through its no-nonsense pacing and just the right mix of present-day action and appropriately timed flashbacks. The production’s excellent ensemble gives the characters a remarkable sense of realism across the board, too, making viewers aware that they’re not watching anything inauthentic or forced. The result is a film that never disappoints, effectively yanking at the heartstrings with poignant examples of “what if” scattered throughout and never turning schmaltzy or overly sentimental. Living life in the closet is obviously a personal choice that no one has any right to deny anybody, but, considering what one might pass up by doing so is something that merits serious, thoughtful attention, especially now that society has become more accepting and tolerant of alternative lifestyles and career paths. Indeed, is what one might miss out on due to concern for the reactions of others really worth it? While the film’s title might sound like the opening line of a joke, “A Man Walks Down the Street” draws this question into sharp focus, reminding us of what we stand to lose by failing to come out and acknowledge our true feelings, regardless of what one’s sexuality or vocational inclinations might be – and, one would hope, before it’s too late to change our fates.