ESuleiman’s fifth film It must be in Heaven is one of four main films made in 2019 with semi-autobiographical sections from the lives of the four filmmakers. Here are three more movies Spanish President Pedro Almodovar Pain and Glory, US / Italy director Abel Ferraro’s Tommaso and British director Joanna Hogg’s The Souvenir. Among the four films, only It must be in Heaven they are his the director appears in front of the camera and also without hiding under the name of the fictional / modifying ego.
|Director Elia Suleiman as seen in the film,
boarding a Parisian train
MR He does not speak words while others speak to him. She is obviously obsessed with the activities around her, sometimes hesitant, sometimes laughing, and sometimes emotionally stable.
The viewer can see the similarities between his computer appearance and Jacques Tati’s Monsieur Hulot in Tati’s films. Mr Hulot’s Holidays, My Uncle, Play Time
and Traffic. Unlike Tati’s four films featuring fictional Hulot as Tati’s accessory, Suleiman prefers to be known by his real name Elia Suleiman, the Palestinian film director, vividly comparing what Palestine cannot win with similar Palestinian events or anyone. a person of color or minority means to live (or visit) in France and the USA. Why France and the US? The moderator explained in his interview that he had lived in each of the two countries for 14 years. For viewers who are familiar with John Berger’s book of appreciation for art. Methods of Viewing and a TV series produced in 1972 will see the connection between Berger’s work and access methods (as a viewer) of Suleiman It must be in Heaven. Berger wrote in his bookpictures always need language and context to make them stand out. ” Forms of It must be in Heaven to be rich with the words spoken and the style of the film. That’s why a viewer who misses the director’s commitment at the end of the film or who doesn’t know about John Berger and his book only feels the clear, unmistakable taste of the film, which just seems as solid. beautiful bead necklaces.
|A Palestinian man drinks Scotch’s alcohol but is angry that his sister
she has been given food and wine as a supplement, just as women are
should drink wine or alcohol
What is admired in this film It must be in Heaven and his ability to criticize the Palestinian people as they make a film that supports their cause in some way. The first opening is a Greek Orthodox Easter (in Bethlehem?) Ceremony in which the bishop, presiding over a group of worshipers, knocks three times on the front door of a sacred church, waiting to be opened from the inside by church staff. A careless person behind the door refuses to open the door, until an angry Bishop removes his religious head and forces the unsuspecting person to open the crypt door on the other side of the door. The observer could sense the breach of the bottle, perhaps with an angry Bishop. Suleiman criticizes the whole church and the powerless Palestinians. Leader Suleiman is a Palestinian Christian. In another table, in memory of the films Roy Anderssons, Suleiman sitting in a Palestinian restaurant watching two Palestinian Muslim men sitting at another table with imbibing Scotch whiskey, while their sister eats at the same table. Suddenly he complains about the food they are given to their sister by the owner of the restaurant about the change in the brother’s taste, which their sister had enjoyed in the past. The restaurant owner explains that the dish has been prepared with a dash of wine for the first time to add flavor. The description infuriates the men because their sister is not allowed to drink alcohol (for religious reasons?) And their anger is angered by the restaurant owner who gives them a free Scotch whiskey to fix it for preparing a meal containing wine. Then there are Palestinians who steal their neighbor’s lemons by falsely claiming to care for the lemon trees, men who say unspeakable things. tales of snakes that fill the air in a flat tire and repair by a woman who travels long distances several times because she is carrying two vessels of water, one vessel each.
Suleiman simply looks at the reckless behavior of Israeli police officers in two separate images. One, Suleiman, driving his car, passes an Israeli police car with two of his officers changing their play glasses, while a blinded Palestinian woman (arrested, one thinks) sits quietly behind them. In another vignette, two Israeli police officers are busy with binoculars, as they approach a passerby urinating on the street and smashing his beer bottle, without attracting the attention of the officers.
|Director Suleiman in Paris, in front of the shop appropriately
“The Human Comedy”
The filmmaker returns to France and then to the USA for financial support for his next film. Subsequent images in France and the USA, seemingly inconsistent but send messages to viewers. In a Parisian subway station near the object, a terrified boy watches a calm Suleiman, and the spectator anticipates a tragic event, until you see him playing with cans of beer. The viewer has to set the pattern similar to the one already in the film as Suleiman walks down a lonely road in Palestine / Israel as he sees himself being pursued and intimidating young people with sticks. As in the succession of the Paris metro system, we soon learn that these dangerous teenagers have other goals besides the lonely, timid Suleiman. John Berger’s material pervades both continents, similarly, in the film.
|Director Suleiman sitting in front of the restaurant / restaurant,
while police check the distance of seats from the street,
to see if it complies with the rules
Likewise Suleiman not only mocks the Israeli police; likens the Parisian police to measuring French restaurants / bistros that go down the sidewalk with the help of tape measureers, police mounting Segways (electric scooters) as if they were dancing ballerinas in a stadium. (touching Tati?) chasing the criminal on the run. In the USA, too, airport police are highly suspicious of tourists like Suleiman and ask him to step aside to see him in detail, while men and women carry guns on their way to US supermarkets for shopping. In Central Park in New York, a woman dressed as an angel undresses in public, as police attack her.
In Paris, street cleaners are all black: in the USA, a high-end women’s clothing store that glows at night to attract potential customers is washed by a black woman. who obviously can’t afford to buy showwear.
|Suleiman is waiting outside the office of the prospective manufacturer
to raise money for his next film
Inen this Palestinian film, where spoken words from the protagonist (the director of the film) are completely missing, the songs are carefully selected to create the sound. Strange but fittingly includes the song Darkness written and sung by Leonard Cohen, a foreigner from Canada, who sings:
I have no future,
I know my days are numbered
What is available here is not interesting
Lots of things just to do
I thought the past would be over for me
But the darkness found it again
WFamous Mexican actor Gael Garcia Bernal portrays Suleiman as a female producer in the USA, the producer sees Suleiman as an Israeli Palestinian and Garcia describes him as a Palestinian Palestinian. When he was told that Suleiman was making a peace film in the Middle East, the immediate, dangerous, misleading response was “That’s already funny.”
It must be in Heaven, and an indirect joke about the Palestinian people and their ambitions for a different world from Israel, which Suleiman strongly believes (putting in words written by a tarot card reader in the film) will eventually happen but probably not in his lifetime. Is heaven in the USA or in France or in Palestine the same for the Palestinian people? That is a vague question asked by the filmmaker.
For me, this was the most rewarding film among the four historical films of 2019 that we have already mentioned, not only because of its content but also because of its humor and the detailed view of the people and their actions. If John Berger had agreed, so would Suleiman’s parents who had died.