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Displaying all 9 wall posts
Kitty
19Nov11
Images from Chronicle of a Disappearance still linger. In that film, and this one, he superbly conjures a world of stillness, beauty & absurdity. A film of gestures, with composition to rival Fassbinder’s Bitter Tears of Petra von Kant. A film imbued with a familial warmth that leaves one yearning, strangely, for the unenviable world of its characters. He's a modest troubadour. Sophisticated. Gentle. Weary.
Slow-Immersion likes this
megancatherine
13Aug11
Stylistically superb. Poignant, humorous. I like the fact that he positions himself literally within the film. I enjoyed every minute of it.
Slow-Immersion likes this
Salma Dahab
9Apr11
The secene of ' the mother in the balcony ' is killing ...killing ...killing ! Suleiman ...chapeau !
Dylan Ibrahim likes this
Matthew_Lucas
29Jan11
Elia Sulieman takes a deeply personal look at Palestinian/Israeli relations in this autobiographical look at the time when Israel became an official state, and Palestinians found themselves a minority. I love Sulieman's compositions and deadpan humor, but here it seems disjointed, and doesn't really add up to a satisfying whole. Still, Sulieman has a great sense of comedic timing and droll satire.
sharunasbresson
6Jun10
this is a mixed bag to me. watching the film I was disturbed by the straight narration of the first part. gone where the surreal sketches of suleiman cinema and suddenly all his perspective seemed to be manichean. then the elia suleiman character grows and the film grew with him becoming the wonderful, sorrowful, insightful and exilarating film I expected from him. how I like his simple, strong and perceptive way of editing a single scene! please watch the fireworks scene on the terrace and the subtlety of the offscreen regard of the mother... how complex to be so effectively simple!
