red-74
Joined Mar 1999
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Reviews14
red-74's rating
This powerful, manic, wholly original comic satire uses outrageous, often surreal, visual metaphors to show how absurdly difficult life in Jerusalem is for a non-Israeli (and especially for an Arab). DIVINE INTERVENTION has been praised and recommended by the world's best film critics.
In addition to winning two major awards at the 2002 Cannes Film Festival, DI also has the dubious distinction of: 1. having been submitted as a possible nominee for an Oscar for Best Foreign Film then 2. being summarily rejected sight unseen by the Academy.
Why? Because of it's Palestinian origin. The Academy asserted that Palestine is not a country, therefor its entry was invalid. Interestingly, and hypocritically (with a capital 'H'), the Academy always has and continues to accept submissions from cities like Hong Kong and many other sources that are not nations.
Once it became apparent that there was an anti-Academy backlash brewing, they apparently did some swift back-pedaling and insisted that it was the lack of a film commission that swayed them. The controversy continues.
DIVINE INTERVENTION itself is not anti-anyone. It certainly doesn't deserve to be boycotted because of it's origin. The important point is that it's a GOOD movie, a fresh, engaging vision based on personal experience by a very talented director, cast and crew.
Do yourself a favor: See it!
In addition to winning two major awards at the 2002 Cannes Film Festival, DI also has the dubious distinction of: 1. having been submitted as a possible nominee for an Oscar for Best Foreign Film then 2. being summarily rejected sight unseen by the Academy.
Why? Because of it's Palestinian origin. The Academy asserted that Palestine is not a country, therefor its entry was invalid. Interestingly, and hypocritically (with a capital 'H'), the Academy always has and continues to accept submissions from cities like Hong Kong and many other sources that are not nations.
Once it became apparent that there was an anti-Academy backlash brewing, they apparently did some swift back-pedaling and insisted that it was the lack of a film commission that swayed them. The controversy continues.
DIVINE INTERVENTION itself is not anti-anyone. It certainly doesn't deserve to be boycotted because of it's origin. The important point is that it's a GOOD movie, a fresh, engaging vision based on personal experience by a very talented director, cast and crew.
Do yourself a favor: See it!
MAANGAMIZI may be a modest production in terms of expenditure, but the storyline, the performances and some cases, just the faces make it memorable.
Initially it's the story of two disparate women. One is an African/American doctor starting an internship in a Tanzanian hospital. The other is a middle-aged tribal woman who hasn't uttered a word or a sound since surviving a horrific loss as a little girl. When the American doctor arrives to meet her new patients in a women's ward for the mentally ill, all patients but one are active, giggling live-wires. The patient in question sits transfixed, alone and ignored, stock still as if frozen, staring out a window on the far side of the room. Intrigued, the American doctor walks over to her. The camera shows what the patient sees outside: an ancient shaman woman standing in the long grass, staring intensely back up at her.
The doctor looks out the window. There's no one there. Then, as the patient turns slowly, silently, in her chair and looks up, the shaman's face is superimposed over the doctor's.
The shaman is Maangamizi (the 'Destroyer'), an ancient spirit whose presence becomes more and more real and who's powers begin to draw the other two closer and closer together in a series of supernatural experiences rooted in both of their tragic pasts.
Even the title Destroyer becomes debatable because in this case what is being destroyed via visions, dreams, memories and tribal magic results in healing and liberation.
Just because the film focuses on women doesn't make it a 'feminist' tract. That observation does this movie a disservice. One of the most positive presences here is the doctor's male colleague.
Anyone who longs for films trying to honestly and originally convey something about what it means to be human (combined with a tingling spine) should give MAANGAMIZI a chance. Maangamizi may haunt her subjects, her namesake may well haunt you.
Initially it's the story of two disparate women. One is an African/American doctor starting an internship in a Tanzanian hospital. The other is a middle-aged tribal woman who hasn't uttered a word or a sound since surviving a horrific loss as a little girl. When the American doctor arrives to meet her new patients in a women's ward for the mentally ill, all patients but one are active, giggling live-wires. The patient in question sits transfixed, alone and ignored, stock still as if frozen, staring out a window on the far side of the room. Intrigued, the American doctor walks over to her. The camera shows what the patient sees outside: an ancient shaman woman standing in the long grass, staring intensely back up at her.
The doctor looks out the window. There's no one there. Then, as the patient turns slowly, silently, in her chair and looks up, the shaman's face is superimposed over the doctor's.
The shaman is Maangamizi (the 'Destroyer'), an ancient spirit whose presence becomes more and more real and who's powers begin to draw the other two closer and closer together in a series of supernatural experiences rooted in both of their tragic pasts.
Even the title Destroyer becomes debatable because in this case what is being destroyed via visions, dreams, memories and tribal magic results in healing and liberation.
Just because the film focuses on women doesn't make it a 'feminist' tract. That observation does this movie a disservice. One of the most positive presences here is the doctor's male colleague.
Anyone who longs for films trying to honestly and originally convey something about what it means to be human (combined with a tingling spine) should give MAANGAMIZI a chance. Maangamizi may haunt her subjects, her namesake may well haunt you.
Very briefly, if you love 'film noir', excellent writing, brilliant direction, powerful B&W imagery and inspired casting, IN A LONELY PLACE is waiting for you. The storyline and the characterizations are city street-smart and flawless. One of Bogart's very best!