A post-horrific movie. A half century plus of Israeli-Arab life as lived mainly in Nazareth. As depicted, the gradual erosion of Arab social life move the characters from inchoate normalcy to Beckettian realism. But since violence is muted virtually throughout the five to six decades shown, this viewer was left with a strange flatness of effect since Langdon and Tati-like staging dehumanized much of what I saw because of how the director composed the shots and how he directed the actors. Perhaps he was emotionally stunted by living through some of the history shown but his reaction.....his movie.....repelled me by his tiresome, repetitive remove from it all; he never showed the day-to-day-to-year-to-year horror of it all that made the absurdity understandable. There was no "middle" to the movie.

"The Time that Remains" is by far one of the most well-made and powerful Arab movies (and specifically Palestinian) to date. Elia Suleiman tackles one of the most prominent issues in the Arab world with beautiful imagery, nostalgia, music, and the silent word.I usually do not admire having a director act in his/her own film, but Elia Suleiman is his films, they are part of him and his appearance in them as the silent observer simply attacks the emotions and makes the viewer a part of his own life. "The Time that Remains" basically chronicles the life of his mother and father and their 'silent' resistance through the turmoil of the Israeli invasion of Palestine from 1948 till today.What is so powerful about this film is that how the viewer (and especially an Arab viewer) can go through a history of conflict so smoothly with much joy and come out with a striking view of this history. Suleiman shows will all simplicity how the cause still loves, without blood, with few words, but with a lot of emotions and things to say. The choice of music (classical Arabic songs) make the viewer understand what the beauty of being an Arab is, and how this beauty is slowly fading... fading into a lack of identity.I watched Suleiman's previous film "Divine Intervention" after watching this one and realized that we do have an Arab auteur director in our midst; his playful style and cartoonish characters all the more strengthen his cause and keep on his silent resistance.A pure must-see!

A quick history of Absurdistan, the country now known as Israel or Palestine (depending on which part of the wall you end up on). A personalised account starting from the Jewish take over of Palestine in 1948 and leading up to current day Israel. The movie however is less about the big picture, Palestinian-Israeli relations, but more about the very personal story of Elia Suleiman, his father - a resistance fighter - and mother.The backdrop of history is used with great consequence, as Suleiman drives his tale through varying levels of absurdity and yet manages to deliver an emotionally gripping tale. Scenes of profound sadness, like the death of Elia's father, are preceded by short, but realistic, sketches of the ludicrous and nonsensical, like a tank following a man taking out the trash. However Suleiman delivers it with such class, that he never once dances with being a pastiche and remains a poignant, artistic picture throughout. Instead of making a dramatised account full of grief and sadness, Suleiman does the unthinkable with a devastating effect: laughs it all out.Elia Suleiman is increasingly proving himself to be not only the most important Palestinian director, but also the best Israeli one as well. Talk about being absurd...

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.