The War Within (2005) + Paradise Now (2005)

November 4, 2005Posted in2000s, Authors: Walter Chaw, Crime, Drama, France, Germany, Israel, Netherlands, Palestine, Theatrical, Thriller, War

THE WAR WITHIN
**/****
starring Ayad Akhtar, Firdous Bamji, Nandana Sen, Sarita Choudhury
screenplay by Ayad Akhtar, Joseph Castelo, Tom Glynn
directed by Joseph Castelo

PARADISE NOW
***/****
starring Kais Nashef, Ali Suliman, Lubna Azabal, Amer Hlehel
screenplay by Hany Abu-Assad, Bero Beyer, Pierre Hodgson
directed by Hany Abu-Assad

by Walter Chaw Two films, one by New Jersey filmmaker Joseph Castelo, the other by Palestinian lenser Hany Abu-Assad, begin to make inroads into what is perhaps the most inscrutable phenomenon of the so-called War on Terror: suicide bombing. They’re important films, I think, mostly because suicide bombers, like the Japanese Kamikaze pilots of WWII, make it easier to generalize and dehumanize/demonize the enemy as faceless zealots. Every manned car-bomb, every explosives-strapped martyr, creates ideological schisms on either side–more so and deeper, I’d offer, than conventional missiles or rifle shells do, because here we’re striking at the very heart of the way we perceive life and the afterlife: holiness and sin, valour and cowardice. If there’s ever to be some sort of olive branch in this millennia-old conflict, it has to start with an agreement not only to recognize the humanity beneath the atrocities committed by both sides in the name of defending home and hearth, but also to admit that centuries-old texts about the supernatural are piss-poor signposts pointing the light of right reason.

Rana’s Wedding (2003) + Osama (2003)

April 8, 2004Posted in2000s, Afghanistan, Authors: Walter Chaw, Comedy, Drama, Netherlands, Palestine, Theatrical, United Arab Emirates

Al Qods Fee Yom Akhar
***½/****
starring Clara Khoury, Khalifa Natour, Ismael Dabbag, Walid Abed Elsalam
screenplay by Liana Badr, Ihab Lamey
directed by Hany Abu-Assad

OSAMA
*½/****
starring Marina Golbahari, Arif Herati, Zubaida Sahar, Gol Rahman Ghorbandi
written and directed by Siddiq Barmak

by Walter Chaw About thirty minutes into Hany Abu-Assad’s Rana’s Wedding (Al Qods Fee Yom Akhar), an old Palestinian man sets a small table down outside his building in Israeli-occupied Jerusalem, places a typewriter on top of it, and watches as Rana (Clara Khoury) is almost shot by an Israeli patrol when her cell phone is briefly mistaken for a revolver. The moment isn’t commented upon, and the next scene finds her wondering, as she’s wondered for the first parts of the film, where her true love is on this, the day that her father demands that she marry one of the suitors he’s approved for her or leave for Egypt to continue her schooling. The deadline sends Rana careening across the country in an increasingly complex quest to assemble the right people together to allow her to marry the man that she loves–the one who “understands me, and puts up with me when I’m angry.” The line is funny as the sentiment is familiar–it’s a grace note in a picture that somehow cloaks its ferocity in a sheath of gentility. Make no mistake that not commenting on the Israeli/Palestinian situation is not the same as avoiding the Israeli/Palestinian situation; as political films go, Rana’s Wedding is high among the films finding release in election year 2004 (Osama, The Fog of War, Broken Wings).