Average Rating: 4.4/10
Reviews Counted: 63
Fresh: 11 | Rotten: 52
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Average Rating: 4.5/10
Critic Reviews: 20
Fresh: 3 | Rotten: 17
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Average Rating: 3.4/5
User Ratings: 5,229
From Julian Schnabel, Academy Award (C) nominated director of The Diving Bell and the Butterfly, Before Night Falls and Basquiat, comes Miral, the story of four women whose lives intertwine in the starkly human search for justice, hope and reconciliation amid a world overshadowed by conflict, rage and war. The story begins in war-torn Jerusalem in 1948 when Hind Husseini (HIAM ABBASS, The Visitor, Amreeka) opens an orphanage for refugee children that quickly becomes home to 2000 orphans. One of
Mar 25, 2011 Limited
Jul 12, 2011
The Weinstein Company - Official Site
Watch It Now
Yasmine Al Masri
Samir as a Child
Miral as a Child
Juliano Mer Khamis
Shmil Ben Ari
Mahmmud Abu Jazi
Majd Hajjaj Rimawi
Rana Al Qawasmi
Leila as a Child
Hadil as a Child
Sama Abu Khdair
Rania as a Child
Aziza as a Child
Tamam as a Child
Lana Abd Elhadi
Tamam as a Teenager
Tamam as an Adult
Abdallah El Ackel
Child of Deir Yassin
Child of Deir Yassin
What "Miral" lacks in performance art, Schnabel attempts to replace with design.
Miral has the pedigree, the attitude, the weighty subject matter. It's just not much of a movie.
"Miral's" agenda doesn't play to Schnabel's strengths. His best work on film is bold-stroke portraiture, evoking complicated personalities and emotions with dynamic, dreamlike imagery.
It's a miniseries awkwardly stuffed in the body of a two-hour drama about the Palestinians' long struggle against the Israelis.
...is [Schnabel] being this indulgent because he can't fully engage the noncommittal material, or are we just noticing the indulgences more because the material's so noncommittal?
This is what happens when a self-serious movie artist tries to impress his girlfriend.
Miral overrides its screenwriting flaws with Schnabel's uncanny sense of film art.
A stunningly monotonous, shapeless motion picture, more enamored with its decorative presentation than the critical Middle East perspective it contains.
Schnabel dedicates Miral to "everyone on both sides who still believes peace is possible"-a noble sentiment, to be sure, but will anyone on either side really see themselves reflected in such a simplistic, ham-fisted treatment?
Though it self-evidently has a Message about the Israeli-Palestinian conflict, [it] makes virtually no effort to clearly explain what that Message is.
[T]here are plenty of nonpolitical reasons to frown upon Miral: it's simply not a very engaging film, even to those sympathetic to the Palestinian cause...
...if you're going to ask the audience to piece together the meaning of a scene for themselves, don't cue the conclusion with a soundtrack full of familiar emotional cues.
The director injects some showy images into the mix but, without a defined frame for Schnabel to paint in, "Miral" is an unholy mess.
Schnabel is free to make a film sympathetic to the Palestinians, of course, but such distortions and selective history make this little more than an arty propaganda film.
It feels strangely undernourished, as if the filmmakers were afraid to really let go and express big emotions.
The didactic approach and hodge-podge structure diminish the film's heart and Schnabel's dreamy imagery.
- Child of Deir Yassin: They killed my mother and father, nobody is left.
- Miral: Don't mention my father.
- Hind Husseini: This school is the difference between you and the children in the refugee camp.
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Latest News on Miral
March 25, 2011:Five Favorite Films with Julian Schnabel
As an accomplished modern artist, sometime provocateur and acclaimed film director, Julian...