From the first scenes -- a sorry-looking Santa huffing and puffing his way up a hill to flee a gang of Palestinian youths -- Divine Intervention intercedes to offer the most unexpected of film experiences.
Divine Intervention (2003)
Tomatometer
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Reviews Counted:68
Fresh:55
Rotten:13
Average Rating:7.2/10
Consensus: Suleiman utilizes absurdist humor to craft a provocative, original film.
Runtime: 1 hr 32 mins
Genre: Foreign Films
Synopsis: DIVINE INTERVENTION writer-director Elia Suleiman has been compared to Woody Allen and Charlie Chaplin, presumably because he has Allen's intelligent, self-deprecating humor and Chaplin's gift for... DIVINE INTERVENTION writer-director Elia Suleiman has been compared to Woody Allen and Charlie Chaplin, presumably because he has Allen's intelligent, self-deprecating humor and Chaplin's gift for silent comedy. DIVINE INTERVENTION is not a silent film, but an intensely quiet comedy about daily life in the West Bank and Israel. Suleiman provides a series of not-altogether-related vignettes of people choked with boredom and drained of compassion, such as an angry mob of adolescents stabbing Santa Claus, or the neighbor who throws garbage onto the property next door (and complains when its thrown back), or checkpoint soldiers who sing and dance, and look menacing doing so. Though there is no distinct protagonist in this atypical satire, the filmmaker plays himself returning to Nazareth to help his ailing, hospitalized father (Nayef Fahoum Daher). Between visits to the hospital, where patients chain smoke in the halls outside their rooms, Suleiman falls for a West Bank woman (Manal Khader). Restrictions force them to carry out their relationship with only some hand-holding in the parking lot of the Israeli checkpoint between their two cities. DIVINE INTERVENTION favors extended, slow-paced scenes that seem suspended in time until they are punctuated with supercharged Arabian dance music like Madonna producer Mirwais Ahmadazi's "Definitive Beat" or Natacha Atlas's unbelievable cover version of Screamin' Jay Hawkins's "I Put A Spell On You." Though the characters often seem too distracted by anxiety and anguish to really connect with one another, Suleiman's sense of humor giddily overrides all the darker messages here, as in the climactic sequence--reminiscent of Monty Python--in which armed men in choreographed unison shoot at a target outlined in the figure of a veiled woman and she refuses to capitulate. [More]
Starring: Elia Suleiman, Emma Boltanski, Amer Daher, Jamel Daher
Starring: Elia Suleiman, Emma Boltanski, Amer Daher, Jamel Daher, Naeif Daher, George Ibrahim, Salman Nattor, Nazira Suleiman
Director: Elia Suleiman
Director: Elia Suleiman
Screenwriter: Elia Suleiman
Producer: Humbert Balsan, Avi Kleinberger, Joachim Ortmanns, Babette Schroder, Elia Suleiman
Studio: Avatar Films
Reviews for Divine Intervention
The visual puns, sight gags and the little parables told by the few speaking characters are rarely laugh-out-loud funny. But they provoke thought, debate and diverse interpretations.
A brilliant comic cry of pain, a surrealistically piercing protest at what its maker sees as brutal oppression and chooses to attack with satire rather than rocks or bombs.
a film to be studied and analyzed. Too bad it's not accessible enough to connect on an entertainment level.
It's ridiculous and smart, hilarious and terrifying, difficult to swallow and probably a necessary antidote to the cacophonous history of a land that all too often seems anything but holy.
It makes for an intriguing example of how to use art, rather than bombs, to make a sustained political point.
While its deadpan comedy recalls Jim Jarmusch, and its deep humanity might remind you of Abbas Kiarostami, Divine Intervention is calmly unsettling in a way that feels entirely new.
Existence under these conditions is difficult and unpredictable at best. But Suleiman has also found the funny and poignant aspects, using satire and absurdist comedy to make his points.
Don't try for Buster Keaton deadpan effects unless you have Buster Keaton.
Suleiman's argument seems to be that the situation between Palestinians and Israelis has settled into an hopeless stalemate, in which everyday life incorporates elements of paranoia, resentment and craziness.
A film whose eerie blend of deadpan wit and inner angst upset all your expectations.
It succeeds because Suleiman applies the same kind of minimalism and silent comedy that made Tati's films ... always so winning.
May be too culture-specific for most Americans, but international film lovers should seek it out
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