Although its title might have some assuming this is a cheap remake of a bad horror B movie from the '50s, Jellyfish is actually quite a reflective and pensive picture.

And while not much transpires during this film, it should leave audiences thinking about the picture and the bigger picture that is life with all its twists and turns. Think of Jellyfish (also known as Medozut which is Hebrew for jellyfish) as Babel minus the guns or Magnolia minus the concluding frog showers -- and it should become a bit clearer.

Revolving around the lives of three women living in Tel Aviv -- a caterer named Batya (played by Sarah Adler) barely making ends meet in a fleabag apartment, a Filipino nurse Joy eager to return home (Ma-nenita De Latorre) and newlywed Keren (Noa Knoller) -- co-director Etgar Keret divides each storyline nicely while slowly weaving them together.

Using various metaphors to drive various messages home, Jellyfish, based on a story written by Keret's wife (and co-director) Shira Geffen and winner of the Camera d'Or at the 2007 Cannes Film Festival, begins at Keren's wedding, at which Batya is working.

And just when Keren's day is being capped off with a reception, she injures her leg jumping and escaping from a locked bathroom stall, resulting in a planned Caribbean honeymoon nixed for a stay at a Tel Aviv hotel with a non-working elevator.

While Keren's and Joy's dilemmas are explored and fuelled at times by outside forces and people, Batya's character is often utilized for much of the film's metaphors and symbolism.

A young girl (Nikol Leidman) emerges from the sea, lives with Batya and returns to the sea, allowing for Batya to accept part of her youth and begin trusting people again.

Adler's performance is probably the highlight of the film, whether it's through her adventures with the quirky, quiet young girl or in her slowly developing friendship with a female photographer.

Keret also does a great job in being impartial towards each character, showing their flaws with the same care as their strengths as is the case with Keren when she grows suspicious of her husband in his dealings with an author of the opposite sex staying in the same place.

Another asset is how, with the exception of a few offhanded remarks, apolitical the film is despite the location and history. The director is intent on telling the story of these characters and not the story of where they are residing.

If there's one flaw to the film, it might be the fractured manner in which Joy's story is portrayed. While there is enough subtext given for the audience to connect the dots, her journey seems a bit thin and not quite as fleshed out as the others. Fortunately Joy's relationship with the occasionally cantankerous but kind Malka (Zaharira Harifai) gives that aspect of Jellyfish more depth.

In all, the three main characters find some semblance of a connection they've been seeking, albeit in very different circumstances. It's not the fairy tale "and they all lived happy every after" conclusion, but then again neither is life.

(This film is rated PG)

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