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Yadon ilaheyya
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Yadon ilaheyya (2002) More at IMDbPro »

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Up 114% in popularity this week. See why on IMDbPro.
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Release Date:
2 October 2002 (France) See more »
Separated by a checkpoint, Palestinian lovers from Jerusalem and Ramallah arrange clandestine meetings. Full summary » | Add synopsis »
Plot Keywords:
6 wins & 2 nominations See more »
User Reviews:
Terrific, original, absurdist take on life in Palestine See more (48 total) »


  (in credits order)

Elia Suleiman ... E.S.
Manal Khader ... Woman
George Ibrahim ... Santa Clause
Amer Daher ... Auni
Jamel Daher ... Jamal
Lufuf Nuweiser ... Neighbor with American van
Read Masarweh ... Abu Basil
Bassem Loulou ... Abu Amer
Salwa Nakkara ... Adia (as Salvia Nakkara)
Naaman Jarjoura ... Uncle
Rama Nashashibi ... Um Elias
Saiman Natour ... Friend
Fairos Hakim ... Bus stop shopkeeper
Khalil Jarjoura ... Number 6 man
Hamada Shamout ... Basil
Nazira Suleiman ... Mother
rest of cast listed alphabetically:
Azi Adadi ... Soldier 9
Haim Adri ... Walkie Talkie Voice
Bsoul Ahmas ... Policeman 3
Zahl Aleimi ... Barbecue man
Shmulik Altal ... Soldier 6
Igal Arobas ... Tax officer 2
Majd Atiyem ... Kid Santa Claus
Ahmad Ayadi ... Kid Santa Claus
Samih Bathish ... Municipal worker

David Belle ... Marksman1
Vincent Bersoulle ... Marksman 5 (as Vincent Bersouley)
Emma Boltanski ... The french tourist
Arik Bonfis ... Officier
Daniel Bronfman ... Soldier 1
Omil Civon ... Soldier 5
Daher Daher ... Identical patient 1
Nayef Fahoum Daher ... E.S.'s Father
Emil Daniel ... Manshooting snake
Zahi Daniel ... Snake beater #2
Ziad Daniel ... Snake beater #1
Rashad Deek ... Nurse 4
Yoval Edan ... Policeman with van
Ramzi El Sheik Kasem ... Molotov cocktail 2
Khalid Fahoum ... Kid Santa Claus
Rana Hakim ... Nurse 3
Rami Hakon ... Soldier 8
Isal Hassidim ... Soldier 2
Abu Junia ... Vendor
Mahmoud Kadah ... Policeman 2
Dishara Katelo ... Kid Santa Claus
Samor Katelo ... Kid Santa Claus
George Khleifi ... Jerusalem Neighbor
Elias Khoury ... Doctor
Avi Kleinberger ... Trainer & Tax Collector
Sana Lahab ... Nurse 1
Alox Lawrence ... Settler in car
Rachol Loah ... Walkie Talkie Voice
Ju'den Moaz ... Prisonier
Fianas Moukabaa ... Kid Santa Claus
Alfred Naddaf ... Patient whit woomen leg
Menashe Noy ... Soldier at Checkpoint (as Monacho Noi)
Marwan Okal ... Tax officer 1
Sébastien Peres ... Marksman 2 (as Sebastian Perez)

Michel Piccoli ... Santa Claus Breathing (voice)
Frederick Renard ... Marksman 3 (as Fred Renard)
Emil Rock ... Patient whit pyjama
Roni Rock ... Santa Claus patient
Bakor Saleh ... Snake beater #3
Imad Samara ... Molotov cocktail 1
Denis Sandler ... Soldier 4 (as Denis Shapoznikov)

Olivier Schneider ... Marksman 4
Kamal Sruji ... Engineer 2
Samir Sruji ... Engineer 1
Juna Suleiman ... Nurse smoking
Rasha Suleiman ... Nurse 2
Soner Suleiman ... Policeman 1
Wajdi Tallouzi ... Kid Santa Claus
Tuvia Twig ... Soldier 7
Ruba Warwar ... Sweetwart
Lual Zaher ... Kid Santa Claus
Ronin Zindenfeld ... Soldier 3

Directed by
Elia Suleiman 
Writing credits
(in alphabetical order)
Elia Suleiman 

Produced by
Humbert Balsan .... producer
Rémi Burah .... co-producer
Avi Kleinberger .... line producer
Joachim Ortmanns .... co-producer
Babette Schröder .... associate producer
Elia Suleiman .... co-producer
Cinematography by
Marc-André Batigne 
Film Editing by
Véronique Lange 
Casting by
Galit Rosenstain 
Production Design by
Miguel Markin 
Denis Renault 
Art Direction by
Miguel Markin 
Denis Renault 
Samir Srouji 
Costume Design by
Eve-Marie Arnault  (as Eve-Marie Arnault)
Makeup Department
Orly Ronen .... key makeup artist
Production Management
Eric Vedrine .... unit manager: Marseilles
Second Unit Director or Assistant Director
Basil Khalil .... second assistant director
Shabtai Yitzhak .... first assistant director
Sound Department
Selim Azzazi .... sound effects editor
Hervé Guyader .... sound editor
Laurent Lafran .... sound recordist
Philippe Lecoeur .... boom operator
Nicolas Lefebvre .... dialogue editor
Johann Nallet .... sound recordist
Williams Schmit .... sound re-recording mixer
Alon Shapira .... boom operator
Bruno Tarrière .... sound re-recording mixer
Eric Tisserand .... sound
Jean-Alexandre Villemer .... sound recordist
Visual Effects by
Manfred Büttner .... visual effects producer
Erich Eder .... digital compositor
Hubert Fourneaux .... visual effects
Fabien Girodot .... visual effects supervisor
Dirk Matzkuhn .... digital compositor
Robert Pinnow .... visual effects coordinator
Eve Ramboz .... visual effects
Caterina Schiffers .... digital compositor: postproduction, TVT
Florian Schuck .... digital compositor
Heiko Schweizer .... digital compositor
Thomas Schäfer .... CGI artist
Aurélien Vernhes-Lermusiaux .... trainee: visual effects unit
Markus Degen .... digital effects artist (uncredited)
Olivier Schneider .... stunts
Frédéric Vallet .... stunt coordinator
Camera and Electrical Department
Igal Arobas .... grip
Ehab Assal .... assistant camera
Ehab Assal .... camera operator
Ehab Assal .... focus puller
Adi Borkin .... best boy
Vincent Buron .... first assistant camera
Frédéric Mainson .... assistant camera
Guy Ne'eman .... key grip
Ferencz Radnai .... gaffer
Editorial Department
Reda Berbar .... colorist
Muriel Douvry .... assistant editor
Bérengère Saint-Bezar .... assistant editor
Other crew
Grace Benoish .... script supervisor
Myriam Lainey .... script supervisor
Nadia Saah .... publicity and marketing

Production CompaniesDistributorsSpecial Effects

Additional Details

Also Known As:
92 min | France:100 min (Cannes Film Festival)
Aspect Ratio:
1.85 : 1 See more »
Sound Mix:
Argentina:13 | Australia:M | Brazil:14 | Denmark:7 | Finland:K-11 | France:U | Portugal:M/12 | Singapore:PG | Spain:13 | Sweden:11 | Switzerland:12 (canton of Geneva) | Switzerland:12 (canton of Vaud) | Switzerland:14 (canton of the Grisons) | UK:15
Filming Locations:

Did You Know?

Chosen by "Telerama" (France) as one of the 10 best pictures of 2002 (#04)See more »
Crew or equipment visible: At the border, when several cars are told to turn around, the camera is reflected in the side of the cars for several seconds.See more »
Movie Connections:
Easy MuffinSee more »


This FAQ is empty. Add the first question.
3 out of 5 people found the following review useful.
Terrific, original, absurdist take on life in Palestine, 27 June 2008
Author: ametaphysicalshark from

"Divine Intervention" is not a perfect film. Certain scenes go on too long. Some of the metaphors and symbolism are overdone and over-emphasized, and I'm still not sure how I feel about a crucial scene towards the end of the film, but overall when registering my vote for the film I, again, simply couldn't vote less than 10. It's hard to do so with such a unique film, and one which I feel is quite important and special, regardless of my own personal connection to the film and its subjects (like most of my father's family the filmmaker is a Palestinian Christian from Nazareth).

The film's tone is one of detached, bitter irony. It's an absurdist look at the conflict, at life under Israeli occupation. A far cry from many Palestinian (or Israeli) films, especially the likes of "Paradise Now" (a great film in its own right), with their emphasis on examining the conflict itself, the solutions available and the morality of the actions taken by desperate people on both the Israeli and Palestinian sides, "Divine Intervention" is ultimately about minor miseries and absurdities, an uncanny portrayal of the mundane, monotonous nature of living in Palestine- you're always at a checkpoint, even if you're not actually at one.

Checkpoints play a big part in the film. So do hands, eyes, footballs, balloons, post-it notes, Israeli authority figures, colorful language, and various other things. The opening half of the film is largely in a classic comedy tradition: sight gag after sight gag, with some uproariously (as far as I'm concerned) hilarious exchanges of dialogue, sadly some of this is lost in translation, but the film's humor is so overwhelmingly visual that this doesn't matter so much. The first time I saw the film some of the jokes didn't work for me and some did. Three viewings later it's easily one of the most satisfying comedies around.

The film's latter half is more intent on surreal, symbolic imagery. Imagery which retains the bitter irony and absurdist tendencies of the first half, but will surely be harder to swallow for most, especially as some of it can easily be misunderstood and misinterpreted. The more ambitious set-pieces are also more visually problematic, with dated CGI mixing with Suleiman's wonderful portraits of Jerusalem.

Most of the film's flaws are still in sequences I wouldn't dream of cutting out of the film. These scenes don't have the perfect timing and delivery of the comedy in the first half, which is much more subtle in its metaphorical and symbolic value than the latter half, but the film wouldn't work without them. It's a very odd film to say the least, and while I can complain about certain things I wouldn't have any suggestions on how to make them better.

"Divine Intervention" remains one of very, very few films to really capture what it means to be Palestinian and to have a Palestinian mindset. More interestingly the film is almost entirely from the perspective of Christians (I don't believe hijab is seen at any point in the film), eliminating the ever-present Jews vs. Muslims debate and focusing on Palestinian identity and Palestinian life. As a document of Palestinian life, absurd yet believable and shockingly realistic, it is invaluable. Yet the film achieves more. It has depth. It works as a comedy first and foremost, but always has significance and importance, something more to say.

The film is, ultimately, a collection of sketches, but they're brought together so well into a fairly cohesive whole that I can't understand the complaints about this aspect of the film. Some of the scenes are absolute classics, unforgettable even. The film has a wonderful visual sensibility, Suleiman's detachment extending beyond the writing and perspective to his camera which views these lives from a distance, static and observant, letting things play out against strikingly beautiful shots of Nazareth and Jerusalem. When Suleiman does go for motion it's for good reason. These shots tend to be ambitious and crucially important and are consistently well-realized by him and his crew.

Something of a forgotten film, opening to mixed reviews and an extremely limited run in North America, "Divine Intervention" remains one of the most deserving Jury Prize winners at Cannes. It's not surprising that the Europeans were more receptive, it's just a shame that this movie is such a tough sell to fellow North Americans, even film buffs, mostly because it's so relatively unheard of. Too bad, it's really great.

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