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The Time that Remains (2009)

Not Rated | | Drama, History | 12 August 2009 (France)
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An examination of the creation of the state of Israel in 1948 through to the present day.

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5 wins & 5 nominations. See more awards »

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Director: Elia Suleiman
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Cast

Credited cast:
...
Woman in West Bank taxi
...
Eliza's Boyfriend
...
Fuad
...
ES
Ziad Bakri ...
Jamal (as Ziyad Bakri)
...
Haganah Soldier
Amer Hlehel ...
Anis
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Ramalla IDF officer
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Taxi Driver
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IDF Commander (as Nati Ravitz)
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Neighbor
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Man With Cell Phone / Tank
Avi Kleinberger ...
Government Official
Alex Bakri ...
Man Who Shoots Himself
Shafika Bajjali ...
Mother (80)
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Storyline

An examination of the creation of the state of Israel in 1948 through to the present day.

Plot Summary | Add Synopsis

Genres:

Drama | History

Certificate:

Not Rated | See all certifications »
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Details

Official Sites:

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Release Date:

12 August 2009 (France)  »

Also Known As:

Le temps qu'il reste  »

Filming Locations:

 »

Box Office

Budget:

$6,500,000 (estimated)

Opening Weekend:

€275,415 (France) (16 August 2009)

Gross:

$20,205 (USA)
 »

Company Credits

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Did You Know?

Connections

Features Spartacus (1960) See more »

Soundtracks

Ma Rida
(Yasmine Hamdan, Mirwais Ahmadzaï)
Perfonned by VAS
Vocals: Yasmine Hamdan
Produced by Mirwais Ahmadzaï
© 2009, 1000 lights Music ltd.
(P) 2009 Productions 50/50
Courtesy of Universal Music Vision
See more »

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User Reviews

 
Palestine's Flying Circus
6 July 2012 | by (United Kingdom) – See all my reviews

A quick history of Absurdistan, the country now known as Israel or Palestine (depending on which part of the wall you end up on). A personalised account starting from the Jewish take over of Palestine in 1948 and leading up to current day Israel. The movie however is less about the big picture, Palestinian-Israeli relations, but more about the very personal story of Elia Suleiman, his father - a resistance fighter - and mother.

The backdrop of history is used with great consequence, as Suleiman drives his tale through varying levels of absurdity and yet manages to deliver an emotionally gripping tale. Scenes of profound sadness, like the death of Elia's father, are preceded by short, but realistic, sketches of the ludicrous and nonsensical, like a tank following a man taking out the trash. However Suleiman delivers it with such class, that he never once dances with being a pastiche and remains a poignant, artistic picture throughout. Instead of making a dramatised account full of grief and sadness, Suleiman does the unthinkable with a devastating effect: laughs it all out.

Elia Suleiman is increasingly proving himself to be not only the most important Palestinian director, but also the best Israeli one as well. Talk about being absurd...


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