To put it simply, in IT MUST BE HEAVEN Suleiman's comedy falls between Kaurismäki and Roy Andersson which means either deadpan, quirky or absurd. Consist three segments that mirrored each other and seamlessly connected by the recurring themes: disillusionment and reflection.
[UCI El Corte Inglès] Drinking not to forget things but to remember things. Wish Israel and Palestine would (re)unite with one another's in Elia's lifetime. In the end this is something for the young ones to accomplish. If we can dance with the other side, then there r no sides to this: we're all Israelis and Palestinians. I don't pick a side. I just want them to co-exist and co-love each other>they need hugz pronto.
DCP. In 96, Suleiman's breakthrough in cinema was sublime. Now the clown has aged, the Keaton's face has changed and his maturity look is at the level of his existential evolution, heavily ironic, but calm. Like Iosseliani and Kaurismaki, he's one of the magnificent strains of comedy in the last decades. I agree with the comment that is touching to see him being an accomplice observer of Palestinian youth revelry.
Öncelikle bunun bir komedi filmi olmadığını söylemek gerek. Ne filmi derseniz, çerezlik "gönderme var" filmi diyebilirim. Sonralıkla yönetmenin sinematografik oyunları beni filme pek bağlayamadı. Sıkılmadım ama keyif de almadım. Birçok güzel sahne barındırıyor ama filmin geneli fazla yavan. Göndermelerin bir çoğunu kaçırmış olabileceğimi tahmin ediyorum ama bu, araştırma heyecanı bile vermiyor açıkçası.
I loved it. More than anything, it’s a film about the gaze. (The Palestinian's? And then, the Palestinian's in exile?) A stunning exercise in style. Darkly comic. Fleetingly Palestinian, loyal nonetheless. A portrait of the discordant drone of late capitalism hanging over contemporary life. Replete with militarized imagery. Deeply romantic!
Potentially Suleiman’s best work; this disappoints. A somewhat unsubtle examination of what Edward Said termed the ‘double-consciousness’ of exile, which in the case of the Palestinian, means never truly forgetting nor remembering oneself. This process of forgetting triggers ‘E.S.’’ wanderings from Nazareth, yet through what John Collins terms ‘a global that is becoming Palestinized’ he is forever reminded of ‘home’.
CINEMA _ I enjoy Suleiman’s work and his particular look on things, on us, on modern societies. Of course he brings Tati back because it’s often a visual humor, quite strictly composed (good framing, no camera movement). You could have the feeling here with the many vignettes that it’s the same everywhere, the world an absurd place... but the last shot is genuinely benevolent and moving. Suleiman believes in youth.
Someone will object to a certain superficiality of the comic scenes by Suleiman, but his speech focuses precisely on the superficiality of common perception, on common place, the illusion of freedom and the banality and absurdity of daily situations. We need just to sharpen our way of seeing. Fritz Lang once said: "First of all I should say: I am a person who looks. I only experience through the eyes".