From the most unexpected place, come a new call for peace
Two childhood friends are recruited for a suicide bombing in Tel Aviv.
Two childhood friends are recruited for a suicide bombing in Tel Aviv.
Eurimages Lama Films Augustus Film Lama Productions Lumer Films Filmstiftung Nordrhein-Westfalen Razor Film Produktion Nederlands Fonds voor de Film ARTE France Cinéma Medienboard Berlin-Brandenburg Hazazah Pictures
الآن الجنة, パラダイスナウ, Рай сегодня
Very deservingly, the Palestinian cinematic testament Paradise Now has received accolades worldwide for being the very first film to treat the topic of suicide bombing from a human point of view instead of addressing this topic, overexploited by the Western culture, with terrorist perspectives, melodrama or a political bias. The result is a completely relateable and universally applicable moral tale about two childhood friends who are recruited by an unidentified resistance group to make suicide attacks in Tel Aviv, Israel, against the occupation.
The film escalates into a thought-provoking discussion of justice vs revenge and family honor vs national identity with a female protagonist functioning as the conscience of the suicide bombers advocating for equality and justice during life instead…
The middle east conflict is a touchy, dramatic situation and Paradise Now takes the courage to handle the subject. Despite what we might expect, this story about the last day of two suicide bombers is handled with delicacy and never takes political sides.
Said and Khaled are two friends chosen to become martyrs in an important operation in Tel Aviv. They're just normal young guys, working as mechanics and living in a town destroyed by the conflict, where every family has tasted the bitter flavor of it. When they're chosen, they're happy, but not really because of religion fanaticism, but instead because of a sense of injustice and a huge void…
Set in Palestine, two men are tired of being invade by Israel and would demand their right to own the land by doing a suicide attack, but when it all goes wrong, one manage to escape the group, other is left behind to go back home... with the bomb still attach to him.
First of all, whoever wrote the synopsis for this movie on Letterboxd has to revise it. I'm pretty sure this isn't the first movie to deal with suicide bombers, from their perspective. Granted, what makes this one special its that one of the few, and which thesis actually almost makes a case for a new form of peace than going around killing. Also the "bus scene," without…
Film #22 of 30 in my March Around The World | 2017 Challenge (Palestine)
This thriller from Palestinian writer-director Hany Abu-Assad was nominated for the Oscar for Best Foreign Language Film of the Year and won the Golden Globe in that category. It also won the filmmaker three awards at Berlin plus a nomination for the Golden Berlin Bear. Controversy surrounding the film upon its release was intense, with many calling it "immoral" and one Israeli author describing it as a "quality Nazi film."
Everything starts out quite innocently. Two Palestinian friends since childhood, Said (Kais Nashif) and Khaled (Ali Suliman), live in Nablus and repair autos for junkyard owner Abu-Salim (Mohammad Bustami). They like to joke around…
a film about suicide bombing that isn’t from a western point of view shows the importance of perspective and emotions of the people
When director Abu-Assad first tackled the difficult subject of suicide bombers he did so with his documentary Ford Transit. He made one big mistake and that was to cast an actor for the primary person of interest in it. This led to him losing credibility, which overshadowed his message. He therefore decided to basically tell the same story, but now through fiction.
There is great bravery in this film as it deals with a tricky subject. We are shown two human beings who, for all intents and purposes, are already dead. The way the two suicide bombers are portrayed is one of great beauty and carries with it a great restraint and respect for the dubious grey area between good…
Cautiously tackling the kind of dangerous territory very few films have dared to play with, Hany Abu-Assad’s story of two Palestinian suicide bombers is as sensitive as it is daring, as thought-provoking as it is boundary-pushing. The hotly contested specifics of its Best Foreign Language Oscar nomination are a good indication of the kind of tumultuous political situation it deals with; Abu-Assad is sure not to glorify these men, but nor is he quick to damn their cause. Giving voice to the concerns of the Palestinian people, he crafts a heart-breaking story that offers an underseen perspective on the long-running Middle Eastern conflict, being sure to endear us to these characters ever before we learn the true horrors of their actions to come. The mostly real-time film takes some unexpected narrative paths to its perfect denouement, these odd divergences ultimately leading the way to powerful and resounding points on the desperate actions prolonged subjugation inevitably breeds.
In this movie there are two quotes by the two main characters displaying the Palestinian situation very well:
Khaled: " Israel views partnership with and equality for the Palestinians under the same democratic system as suicide for the Jewish state. Nor will they accept a two-state compromise even though that is not fair to the Palestinians.
We are to either accept the occupation forever or disappear. We've tried with all possible means to end the occupation with political and peaceful means.
Despite it all, Israel continues to build settlements, confiscate land, Judaize Jerusalem and carry out ethnic cleansing. They use their war machine and their political and economical might to force us to accept their solution:
that either we accept…
“life here is like life imprisonment. the crimes of the occupation are countless. the worst crime of all is to exploit the people’s weaknesses...and the world watches, cowardly, indifferently...you’re all alone, faced with this oppression...even worse, they’ve convinced the world and themselves that they are the victims. how can that be? how can the occupier be the victim?”
free palestine now
In a tense, well acted and scripted affair, Hany Abu-Assad asks us to explore concepts that the Western world are uncomfortable in making. Tossing away the cliche of suicide bombers as cold, vicious animals, Paradise Now explores Israeli-Palestinian politics by presenting Palestinian suicide bombers as ordinary people, without religious fanaticism, merely the situation in that part of the word normalises the behaviour. The film does not legitimise their actions, not judge them in a negative manner.
I morally struggled with this concept beyond the already complex issues of the West Bank. I have no opinion on the Israeli-Palestinian conflict other than I wish a genuine resolution could be sought that is amicable to both parties. If cinema is intended to challenge you mentally, philosophically and morally, Paradise Now is a vehicle to achieve that.
Interesting drama/thriller about two suicide bombers. They've already been ritually washed and prepared for the mission, but something goes wrong, and they end up wandering around in this "liminal" state, which gives the film its most meaningful, intellectually stimulating moments. Gets too talkative right at the end, when we should be able to discern meaning from actions rather than monologues. Still, an effective film. This is true Cinema, in that it deals with dangerous ideas.
"Paradise Now" is one of those Hidden Gems Movies in which one sees the real Struggle of the Middle East conflict. In fact, the movie is non violent while making it's point which i think is Hard to Do... Definitely worth a look.
Palestinian friends Saeed (Kais Nashif, Body of Lies) and Khaled (Ali Suliman, It Must Be Heaven) are recruited for a suicide bombing mission in Tel Aviv, to occur the very next day. Both are excited at the prospect, but for Saeed in particular this means an awkward goodbye to Suha (Lubna Azabel, Incendies), the woman he's been courting via he job as a mechanic.
Their plan is almost immediately foiled when they have to flee guards at the Israeli border. Khaled makes it back to his handler, Saeed doesn't. Unsure if Saeed has betrayed them, the handlers set about disappearing while trying to locate and apprehend the missing man.
It's a striking portrayal of suicide bombers not as crazed fanatics,…
Un viaje a la mente de dos terroristas suicidas palestinos. Humana y reflexiva, necesaria para comprender el conflicto Palestina-Israel.
Creo que cuenta una historia impactante, que lo hace bien, que deja muchos dilemas morales… Tiene de todo un poco, pero si hay algo que no me gusta en una película es el exceso de silencios que quizás no son necesarios. No se si es algo de ritmo o de narración, pero allí le faltaron los puntos para ser un 5.
i'm not crying you are
I think I got more out of this than when I watched it at age 12 with my parents. For starters, I now know what Palestine is.
A figura do "terrorista" costuma ser um atalho muito conveniente para vender alguém como o "malvado" da história, afinal, alguém que causa terror só pode ser alguém ruim, não é mesmo?
Mas "Paradise Now" visa complicar isso, colocando um mártir no centro de sua história e mostrando diversas situações da vida dele, um pouco de comédia, romance, de cotidiano, mas nunca perdendo de vista as tensões da vida em território ocupado.
A tagline for this movie might make you think it's really complicated or has a lot of ins and outs, but it's pretty much a straight ahead fly-on-the-wall depiction about the lives of a few would-be martyrs in the days leading up to a suicide bombing mission that goes somewhat awry. That ends up being more compelling, humanizing, and heartbreaking than any hardboiled geopolitical thriller could ever hope to be, because it gently reminds us throughout its runtime that these stories we hear that seem so abstract and far away involve real people with hopes, dreams, tragedies, and choices that are never quite as clear cut as they're made out to be.
Free 🇵🇸 💔
A fearless story, extremely skillfully told with sensational performances.
Eye-opening and a must-watch but really not suitable for a Monday night winddown...
saidi izlerken bir an sesli olarak gözleri ne kadar manalı bakıyor dedim. filmin sonunda yine gözleri vardı. yönetmen de bunu istemiş diye yorumladım
filmin hikayesi bana oldukça yabancıydı. benzer konulu bir film var mıdır düşünmüyorum açıkçası. bu sebepten de izlenebilir
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