Yadon ilaheyya

"Divine Intervention," or" A Godlike Hand," consists of many vignettes which are Tati-esque "sans paroles" cartoons (they call them "bidoon ta'leeq" in Arabic, without comment), or comic strips actually, since scenes keep returning with slight changes and end with implied punch lines.

The first half focuses on individuals in Jerusalem, the last on Suleiman himself, his father (Nayef Fahoum Daher), and his girlfriend (Manal Khader). His girlfriend disappears and his father dies. The director plays like the sad-faced Buster Keaton doing "Waiting for Godot." He's also been compared to Hal Hartley and Groucho Marx and Yiddish humor, but what we need to remember is that this is a series of disjointed cartoons. Suleiman's aim is not to tell a story but to delineate with bitter, detached irony the miseries and absurdities of Palestinian life under Israeli occupation. In doing so he has had full access to a large Israeli cast, including actual or former IDF border guards.

The movie was originally nominated for the Oscar for Best Foreign Film -- and then taken off the list because Palestine 'is not a legitimate nation.' That's what Golda Meir used to say; the Motion Picture Academy is more backward than the judges at Cannes, which gave Suleiman two jury prizes. Politics are different in the USA, as observers of world events are currently all too well aware, and "Divine Intervention" is unlikely to be as well appreciated in America as in Europe. American and English reviews have frequently focused on the movie's weaknesses and overlooked its elegance and restrained passion.

Indeed there are subtleties that will elude an audience from outside Israel. I'm told that the green envelopes "E.S.'s" father is opening are government mail, whatever you get from different ministries and departments, and the big blue envelope pertains to income tax. It just looked like junk mail to me. In another sequence something happened with the owner of a house who was the object of fire bombings, but I didn't follow the outcome.

Suleiman's black images of Israeli occupation resemble the humor of the concentration camp; the occupation is like a summery, open air detention center, the Jews giving back what they got under the Nazis to the people they got their land from. The final aim is still extermination and removal of a people.

The detachment of Suleiman's view, and perhaps the warped sensibilities that repression and frustration cause, are reflected in the meanness and feuding he depicts as existing daily among the Palestinians themselves and their contacts with Israelis; the alienation in the constant sound of Hebrew in the ears of Arabic speakers. Neighbors throw garbage in each other's yards, puncture a boy's lost soccer ball before returning it; drive along greeting acquaintances and cursing them under their breath.

Between Jerusalem, where E.S. lives, and Ramallah, where his girlfriend is, lies one of the infamous checkpoints: the lovers' separation causes them to meet at a vacant lot next to it. They stare ahead with blank sadness, twining their hands together. Their lovemaking is reduced to that tiny gesture. They sit impassively for hours, as Palestinians must sit in car queues for hours at the checkpoints. Sometimes Suleiman shifts to fantasy: an apricot pit E.S. flips out his car window blows up a tank, or a pretty girl (his girlfriend?) in tight clothes leaves her car, and approaches the elevated observation cabin of a checkpoint, to the consternation and arousal of the young Israeli guards. She walks past, and the whole observation cabin magically disintegrates. (These two sequences had to be staged and shot in France.)

Another time a lively new guard takes over with a megaphone barking commands at Palestinian motorists, stealing a young man's imported leather jacket, ordering others to switch cars, making another sing along with him, humiliating them all, and then suddenly waving the whole line of cars through. The Palestinians are at the mercy of individual personalities, and have only a choice between humiliation and cruelty.

E.S.'s father sits in his pajamas having breakfast seemingly for hours opening the mail mentioned above, eating an egg. He smokes a cigarette and then gets up, and falls onto the floor.

Hospital scenes follow which emphasize how everybody, patients, doctors and nurses, constantly smokes.

Periodically we see Suleiman/E.S. pulling large Post It's off a wall, representing all the little episodes of the movie.

In an elaborate sequence toward the end five Israelis do target practice in formation like chorus girls shooting up effigies of a Palestinian woman -- the girlfriend -- wearing a kufia mask. Finally the real woman emerges from behind the one remaining effigy, dodges dozens of bullets, flies into the air transmogrified into a martyr, emits stones that knock down the men, blows them up with grenades, and spins off in the air like a Ninja. This, and the opening sequence in which Arab boys chase and stab a costumed Santa Claus, have been criticized in English-language reviews as too vicious or too fanciful, but they accurately represent the workings of a tormented Palestinian mind.

It's important to remember that there's no intention to tell a connected story here; Suleiman is an observer and note-taker. Returned to Jerusalem since 1994, he lived abroad for a decade before that, mostly in New York. Like all Palestinians he is rootless and international, treated like dirt in his native land. The power of his observations is in their coolness and wry humor.

For all the explosions, shooting, beatings (of a snake, in one scene) and expressions of hostility, the movie is marked by its distance, stillness, and restraint. People are seen from afar, head on, or from above. Perhaps the most memorable image is the one of E.S. and his girlfriend staring impassively forward for hours at the checkpoint. Passive endurance is the hallmark of Palestinian survival as seen in "Divine Intervention."

A highly symbolic scene is the repeated one of a bus stop where one man is standing and another comes and says, "There's no bus," and the first one says, "I know!" This pinpoints the hopeless situation of the whole society.

Despite the links with classic movie comedy tradition, Suleiman has a unique and sadder vision. One may or may not find the scenes amusing or entertaining but one does get a sense of the average Palestinian's predicament. Bitter irony and detachment are two of the only ways of dealing with it.

Like others who have commented on this film, I, too, cannot stop thinking about it... thinking about how I was lured to the theater by a very good trailer that was crafted, I'm sure, to appeal to my interest in the Palestinian/Israeli conflict, my concerns with world affairs and other cultures. I was used!

From beginning to end, a chain of weak metaphors... Nothing Divine - no intervention. Pure tedium.

Best metaphor? At the very end, a pressure cooker - and the old lady saying "Turn it off."

I can't remember being this disappointed - ever - in a movie that I was so excited about seeing. I didn't laugh, I didn't cry ... Perhaps I should though; for the potential of all that this subject should have inspired in a truly creative and thoughtful writer/director. For shame.

I remember seeing a clip from this film which involved Palestinians at a roadblock having to endure humiliation from the Israeli soldiers manning it . The scene then cuts to the Palestinian protagonist stopping his car beside a Jewish settler . I was expecting something to happen at this point but nothing did and decided to catch DIVINE INTERVENTION when it made an appearance at the Edinburgh filmhouse very recently to see if it made sense in a wider context

I'll say one thing about Elia Suleiman and that is he know's how to hook an audience in to a story since this contains a truly memorable opening sequence where a much loved icon meets with some violence which will distress anyone who's hoping for some Christmas gifts . Unfortunately he's unable to continue the momentum of this and we quickly find ourselves in Michaelangelo Antonioni territory . It's been said that both Buster Keaton and Jacques Tati have influenced Suleiman but I believe Antonioni has a far more obvious effect . For example a character offers cigarettes to two other characters who then wave their hands in to shot showing that they are already holding lit cigarettes something the character would have been aware of but not the audience . Other examples would be the exploding tank which seems to have been inspired by ZABRASKIE POINT , or a character continually being told there's no bus as he stands at a bus stop and , but perhaps the most obvious example would be the ending involving a pressure cooker . Antonioni likes to irritate the audience with portent enigmas and Elia Suleiman has done the same here along with a few stylistic nods to Robert Bresson

Unfortunately many people on this site and the handful of people in the audience of The Edinburgh Filmhouse seem to have misunderstood DIVINE INTERVENTION somewhat . This was most obvious during the discussion afterwards held by a distinguished epistemological film critic tried to concentrate on the ideas and influences behind the film and kept having the subject changed by useless idiots who were compelled to inform us all they knew about " fascist Israelis " and how the film didn't go far enough in " showing the brutality of the Israeli occupation " . Duh well it's not about the " brutality of the Israeli occupation " - it's about the absurdity of life under occupation and of the wider absurdity of everyday life . If you go and watch this film with a closed mind then you'll fail to understand it . DIVINE INTERVENTION isn't a great film but it's certainly one that can be appreciated by cinephilles rather more than mindless politicised idiots of what ever side of the Middle Eastern fence they're on

I would be lying if I said I loved this film. However, writer-director-actor Elia Suleiman created a pretty unique, bizarre allegory of tolerance in Palestine that deserves at least one viewing.

"Divine Intervention" is composed of a circle of vignettes that vary from "Father Feels Sick" to "I Am Crazy Because I Love You". Using minimalist settings, economic dialogue and bizarre, surreal situations that involve a dying Santa Claus and a female ninja, Elia creates a mosaic of apparently disconnected types and caricatures. His "message" is illustrated in a not so subtle metaphor by the last scene. Even though "Divine Intervention" doesn't always succeed, Suleiman deserves special mention for daring to experiment in a way that most filmmakers are afraid to. Not a bad thing to do. 7/10.

Amazing..

A film that has a crucial twist to what is happening in Israel today.

Two tribes at each others throat. However this isn't your usual mainstream war type, social issues, machine gun shoot type film. This is a film of quality..

Scenes are cut, a lot is left for the audience to tie up and conclude.. Directing at its best.

Powerful visions and photography.

You'll laugh.. but as the scene stays fix on the sketch.. you start thinking of the REAL message the director is giving you and believe you stop laughing.

I will definitely watch it again..

the balloon, the football, the Palestinian lady walking past and creating havoc to the Israeli border, the scene with the hands... all sketches that are unforgettable! Very symbolic...