The Time That Remains (2011)
Average Rating: 6.8/10
Reviews Counted: 44
Fresh: 37 | Rotten: 7
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Average Rating: 7.2/10
Critic Reviews: 14
Fresh: 13 | Rotten: 1
No consensus yet.
Average Rating: 3.4/5
User Ratings: 7,791
An intimate semi-biographical portrait of Palestinians living as a minority in their own homeland between 1948 and the present day, from the acclaimed director of DIVINE INTERVENTION. --- (C) IFC
Jan 7, 2011 Limited
Apr 24, 2012
IFC Films - Official Site
Fuad, Fuad Suleiman
Samar Qudha Tanus
Zuhair Abu Hanna
E.S. as a Child
E.S. as a
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Suleiman takes the approach of gentle observer, neither condoning nor confronting -- not violently, at least. Start with humor and perhaps empathy will follow.
Living in a part of the world where politics, and the pursuit of politics by warring means, are the rule, director Elia Suleiman is the exception.
Despite its abundance of deadpan and absurdist humor, "The Time That Remains," a look at the Arab-Israeli conflict from a Palestinian perspective, was clearly made with a sorrowful heart.
Suleiman's obvious gift for cinema makes you wish that in connecting so personally with his past, he'd occasionally reach out to the audience, too.
To keep a steady gaze, the film suggests, is not just a virtue but a form of orderly protest, when your world is breaking apart.
Throughout, Suleiman contemplates how much has changed in his homeland since the Israeli declaration of independence in 1948, and how the natives have tried to maintain some continuity.
Suleiman's approach, anchored as it is in minutiae and the absurd, manages to rescue the Arab-Israeli issue from its usual hijacking by ideology.
Deadpan, non-reactive characters inhabit the formally elegant, beautifully lensed and mostly static compositions that grace this movie about a hot subject that more often inspires heated, passionate, noisy debate.
The Time That Remains, Elia Suleiman's six decade-spanning speculative remembrance, brings a bleakly comic sensibility -- as well as an insider's perspective -- to 60 turbulent years of Israeli-Palestinian conflict.
Elia Suleiman is among the few living filmmakers to employ slapstick comedy in his work, and the only one to politicize it.
If technique grows wearisome, still the rapid-fire, dry, visual vignettes do not obscure the picture of a community that cannot find its way.
[S]emi-autobiographical trilogy of Palestinian family's experiences from '48. . .culminates in. . .epic storytelling, with maturity and sorrow to match his now gray hair.
One of the many simple conceits of Elia Suleiman's film is the way in which one man's silence becomes a metaphor for an entire nation's.
The formalism Suleiman employs here provides a unique emotional entry point into the Palestinian dilemma, one that uses static shot composition and humor to clarify and comment, not to generate cheap laughs.
The silence of the character played by director Elia Suleiman lends the role a kind of invisibility that seems meant as an analogy to his view of the Arab presence in Israel. He's present, yet absent.
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