Shereen1111 This film has a very distinguished style and sense of humor for such a dark topic on the conflict of Israel and Palestine. It reflects three generations of the conflict through the perspective of Es (the protagonist) who plays a child, a teenager and an elder man. He never speaks perhaps as a metaphor representing the voiceless. One thing I was also able to appreciate as an Egyptian audience, the Egyptian songs by Laila Mourad and Mohamed Abdel Wahab, as well as some Egyptian news references, like on the death of Egypt's President Gamal Abdel Nasser in 1970. Something that a Western audience may not at all experience in the same way a Middle Eastern or Arabic Audience would, is almost like a cheery on the icing for people of that culture, a little gift made exclusively for us, that only we can feel nostalgic about and understand the reference to that culture and era. This film portrays the issue as a gray issue and does no only show the oppressive and inhuman acts of the Israeli Militants, like when they throw Es' father off a cliff. A few scenes show a very human side to them as well, like in the scene when they call out to stop a dance party because of curfew, the first idea that came to mind was the cultural deprivation, but when the military figures start dancing to the music track, it highlights that both sides unite by liking the same music. In another scene, when Israeli military move furniture items onto a truck, the listen to music and smoke cigarettes, somehow very subtly reveals them as ordinary military base figures on duty, it does not look so different from Egyptian bases. He also does not glorify all Palestinians as victims. We get to see a Palestinian who joins the Israeli military and is perceived as a traitor, and called out on it, but he explains later how he needs the work to feed his family. Another very interesting portrayal of how a land under an occupation becomes so natural and part of the backdrop and landscape of the environment, like in the scene when a guy on the cell phone who walks back and forth is pointed at with a tank tracking his every move. The guy does not react at all. This film had a very promising subtle message that the issue is gray and complicated and it seems to be a wish to focus on the good sides in both sides and bringing people together.

Camilla Stein Sometimes, life throws at us things that over the years become too big to comprehend. Such are natural disasters, pandemic diseases, nuclear explosions, and wars.In his movie, released in 2009, Elia Suleiman sets on a journey to explore the genre of black comedy, so as to reveal to us the secret of coping with a tragedy of which the magnitude is overwhelming.It is the nature of human mind to always look for some form of normality, maybe a little static, but nevertheless, a feeling that your bases are covered, your life has a purpose and your entire existence in a certain place and at a certain time is not meaningless. This is what we, humans, do when gun battles, tanks and security surges are suddenly a persistent part of the daily routine. And this is exactly the focus of The Time That Remains. Half a century of tragedy is squeezed into an hour and a half of a laconic and precisely targeted shock therapy.Despite its smoothness and an accurately placed hint of suspense, this movie doesn't truly give you a moment of rest. There's no wallowing in self-pity here, no destructive mind blowing imagery; even the garden of executions is so well carved into the texture of the surrounding neighborhood that it appears natural despite your mind telling you that what you are looking at is a yelling contradiction to what is humanly acceptable.There's also no conflict, in a traditional sense of the word, around which the story would evolve. All there is is a deceptively distanced and only seemingly uninvolved bitterly comic narration about generations of painful struggle to remain human in a filled with nonsense reality, where even a direct participant finds himself merely an observer, trying to just be.The movie strikes as grotesque, largely satirical, very reflective and detailed. This effect doesn't wear off till the very last scene.When telling the truth becomes a taboo, the sensationalism of this movie is found in the peculiar way of drawing attention to what should not be discussed, because the subject makes us uncomfortable.Elia Suleiman resorts to various means offered by cinematography in order to break the unbreakable, to jump over the wall.There are no loud graphic scenes in this movie, nothing at all that an adult cannot handle; yet, it is heavily loaded with incredible emotions that run deep in the film's canvas, leaving you gulp for air at times.When deciding whether or not to watch this movie, don't hesitate. Just watch. And prepare lots of tissues, even if you are known for having a thick skin.

jotix100 This is an evocative film by Elia Suleiman that was shown at IFC recently. The story takes us back to the city of Nazareth where the director was born. It is a chronicle of the events in that part of the world and the changes that have occurred there. It is basically an account of the life of Mr. Suleiman's parents as they lived the events that go back a number of years in the middle of the Israeli-Palestinian conflict that befell that area.Life as an Arab in Israel is examined by Mr. Suleiman at key points as they happened. Fuad, the father in the film, must deal with what comes his way. Life in the city goes through changes as history comes to change things for the family. There is a running joke about food sent from an aunt that no one wants. The main events happened in 1948, as the state of Israel was being born. Later periods take a look at other aspects of the life of what one feels is the family of Mr. Suleiman.The atmosphere of Nazareth, wit its amazing light is captured by the cinematographer Marc-Andre Batigne. Saleh Bacri, who plays Fuad, shows why he is one of the prominent actors working today. He made quite an impression in "The Band's Visit". The director, Mr. Suleiman shows up toward the end in an enigmatic segment where he seems to be absorbing the history he and his family witnessed in Nazareth.

guy-bellinger As was the case for 'Divine Intervention', Elia Suleiman's former masterpiece, the viewer can't help but admire the originality of its style. What a wonderful thing that a Palestinian should be able to evoke the situation prevailing in his motherland and the Israeli-Palestinian conflict not in a full-frontal, simplistic, dogmatic way (which would be forgivable given the circumstances) but in an unexpected, humorous, quirky, poetic fashion, a little as if Harry Langdon, Buster Keaton and Jacques Tati had decided to tackle geopolitics for once. Suleiman's talent is really offbeat : contemplation in preference to action (the narrator played by Suleiman himself observes more than he acts); silence rather than significant dialog (the main protagonists hardly ever speak and those who express themselves the most are secondary characters saying only superficial things); symbolism before realism (the Israeli taxi driver lost in the turmoil of a summer storm, not knowing where he is going, not recognizing his country anymore).Occasionally very funny (the Iraqi soldier who can't find the battlefield; the gun of a tank following the coming and going of a young Palestinian in the process of taking out his trash bag and talking on his mobile phone without caring the least bit about the threat), 'The Time That remains' contains crazy gags which are a relevant reflection of the absurd atmosphere reigning in Palestine. But most of the time, the film consists in the poetic account of the odd life Palestinians are forced to live, concentrating mainly on the director's parents,a shy but loving mother and a fearless rebellious father, to whom the director pays homage. Not the type to wear his heart on his sleeve, Suleiman expresses his filial love with discretion and restraint. The scenes with his mother aged eighty and with his father dying in the car are particularly moving.'The Time That Remains' looks like no other film of any sort. Go and see it.