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The Time that Remains
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The Time that Remains (2009) More at IMDbPro »

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The Time that Remains -- THE TIME THAT REMAINS is a film composed of stylized autobiographical episodes from the life of writer/director Elia Suleiman. The film explores life among the Israeli Arab community, and is shot largely in homes and places in which Suleiman's family once lived. Inspired by his father's diaries, letters his mother sent to family members who had fled the Israeli occupation, and the director's own recollections, the film spans from 1948 until the present, recounting the saga of the filmmaker's family. Inserting himself as a silent observer reminiscent of Buster Keaton, Suleiman trains a keen eye on the absurdities of life in Nazareth.


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Elia Suleiman (writer)
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Release Date:
12 August 2009 (France) See more »
An examination of the creation of the state of Israel in 1948 through to the present day. | Add synopsis »
5 wins & 5 nominations See more »
User Reviews:
Coping with the irreversible, the cultural aftermath of the creation of Israel See more (10 total) »



Ali Suliman ... Eliza's Boyfriend

Saleh Bakri ... Fuad

Maisa Abd Elhadi ... Woman in West Bank taxi

Elia Suleiman ... ES

Doraid Liddawi ... Ramalla IDF officer
Ziad Bakri ... Jamal (as Ziyad Bakri)
Yaniv Biton ... Haganah Soldier

Menashe Noy ... Taxi Driver

Tarik Kopty ... Neighbor

Ehab Assal ... Man With Cell Phone / Tank
Baher Agbariya ... Iraqi soldier
Nati Ravitz ... IDF Commander
Lutuf Nouasser ... Abu Elias (as Lotuf Neusser)
Avi Kleinberger ... Government Official
Amer Hlehel ... Anis
Ayman Espanioli ... ES (Teenager)
Izabel Ramadan ... Olga
George Khleifi ... Mayor
Alon Leshem ... IDF Officer
Zuhair Abu Hanna ... ES Child
Lior Shemesh ... Police Officer
Nina Jarjoura ... Rose
Daniel Bronfman ... Policeman at bridge
Tareq Qobti ... Neighbor
Samar Tanus ... Mother
Yasmine Haj ... Nadia
Leila Muammar ... Thuraya
Alex Bakri ... Man Who Shoots Himself
Shafika Bajjali ... Mother (80)
Isabelle Ramadan ... Aunt Olga

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

Produced by
Joslyn Barnes .... associate producer
Hani Farsi .... executive producer
Michael Gentile .... producer
Danny Glover .... associate producer
Lauraine Heftler .... supervising producer
Avi Kleinberger .... co-producer
Maya Sanbar .... associate producer
Elia Suleiman .... producer
Cinematography by
Marc-André Batigne 
Film Editing by
Véronique Lange 
Casting by
Juna Suleiman 
Production Design by
Sharif Waked 
Set Decoration by
Maha Haj  (as Maha Assal)
Samir Hawa 
Costume Design by
Judy Shrewsbury 
Production Management
Ehab Assal .... production manager
Varujan Gumusel .... post-production manager
Isabelle Morax .... post-production supervisor
Jacques Royer .... production manager
Second Unit Director or Assistant Director
Kira Bik .... second assistant director
Jerome Borenstein .... first assistant director
Robyn Glaser .... second assistant director
Avichai Henig .... first assistant director
Enas I. Muthaffar .... first assistant director: Ramallah
Art Department
Maha Haj .... set dresser (as Maha Assal)
Nael Kanj .... property master
Sound Department
Rainier Buidin .... assistant sound
Raja Dubayah .... boom operator (as Raja Dubayeh)
Raja Dubayah .... second unit sound recordist (as Raja Dubayeh)
Jon Goc .... assistant sound editor (as Jonathan Goc)
Vincent Guillon .... supervising sound editor
Sébastien Jeannot .... dialogue editor
Gwennolé Le Borgne .... sound editor
Didier Lesage .... re-recording mixer
Pierre Mertens .... sound mixer
Billy Miquel .... boom operator
Christian Monheim .... sound
Michel Monier .... sound consultant: Dolby
Mélanie Mourey .... foley editor
Pierre Picq .... boom operator
Stephane Rabeau .... additional sound editor
Matthieu Sibony .... supervising sound editor
Eric Tisserand .... re-recording mixer
Seppe van Groeningen .... boom operator
Alexandre Widmer .... sound editor
Special Effects by
Pini Klavir .... special effects supervisor
Visual Effects by
Annie Dautane .... visual effects producer
Maxim Doucet .... systems engineer
François Dumoulin .... flame artist
Aurélien Grand .... retouch and restoration
Nicolas Lacroix .... visual effects coordinator
Elodie Ly Tri .... retouch and restoration
Fredrik Monteil .... digital compositor
Eve Ramboz .... visual effects supervisor
Adrien Servadio .... digital artist
Ilya Farfel .... stunt performer
Alex Osmolovsky .... stunt performer
Dima Osmolovsky .... stunt coordinator
Camera and Electrical Department
Ehab Assal .... camera operator
Raed Bashir .... best boy electric
Raed Bashir .... electrician
Shimon Belfer .... best boy
Shimon Belfer .... rigging gaffer
Jekie Boaz .... grip
Mordi Boaz .... key grip
George Dabas .... video assist
Noam Eisenberg .... key grip
Shai Jajo .... electrician
Daniel Kaluzshky .... best boy grip
Justine Legros .... second assistant camera
Yana Mitnic .... electrician (as Yana Mitnik)
Ferencz Radnai .... gaffer
David Rudoy .... second assistant camera
Eric Sicot .... first assistant camera
Mario Zugair .... electrician
Animation Department
Dani Rosen .... animation supervisor
Casting Department
Salim Abu Jabal .... extras casting
Leila Muammar .... casting coordinator
Najwa Mubarki .... casting
Juna Suleiman .... casting
Editorial Department
Chrystel Alépée .... assistant editor
Mickaël Commereuc .... colorist assistant
Charlotte Lamy Le Loet .... color timer
Natacha Louis .... colorist
Mélanie Mourey .... assistant editor
Location Management
Lionel Guerrini .... location scout
Music Department
Matthieu Sibony .... music supervisor
Other crew
Georgina Asfour .... script supervisor
Frederik Bois .... title designer
Nicholas Dalton .... legal services
Thierry Desjours .... financial manager
Nathalie Geoffroy .... production assistant
Amer Hlehel .... creative assistant director
Maxime Maisin .... production coordinator: Belgium
Pierre Selinger .... production attorney
Géraldine Toitot .... production administrator
Huma Khan .... legal post production (uncredited)
Henri Deneubourg .... thanks
Carole Zabar .... special thanks

Production CompaniesDistributorsSpecial EffectsOther Companies

Additional Details

Also Known As:
109 min
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Did You Know?

Movie Connections:
Referenced in Same Old Blues (2010)See more »
AshqahSee more »


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66 out of 84 people found the following review useful.
Coping with the irreversible, the cultural aftermath of the creation of Israel, 19 October 2009
Author: oOgiandujaOo from United Kingdom

The Time That Remains starts in 1948 in Palestine with the invasion by the Israeli armed forces. This event casts a long shadow over the entire movie. It's a Palestinian account, occasionally a very personal account, of how life has continued since then. The movie is contending that in cultural terms there's been a huge degradation, and people have lived in stasis, their lives not moving forward at all.

The movie is a farce which reminds me of the Georgian cinematic tradition of military/political farces such as Brigands Chapter VII from Otar Iosseliani and Repentance from Tenghiz Abuladze. It's very funny at times, and very deadpan, but at others it's very poignant. For example there is literally a tug'o'war in a hospital corridor (shot from outside the building - a neutral absurd position typical of this film) between policemen and doctors concerning a wounded man on a gurney, who presumably is wanted for "questioning".

It's an autobiographical film which is shot on a human level and is therefore a lot more palatable than other politically motivated movies on the Israeli-Palestinian conflict. It's a film that takes place over many years, culminating in the present day. Over the period there's a decline in health of the characters shown, and also in the cultural health, the young consume only American pop and films, gangsterism and culturally tolerated theft is commonplace. The movie could have been a lot stronger for sure on this point, Israeli forces have destroyed the Palestinian infrastructure. Given that it's a Palestinian point of view, I think it's remarkably even handed.

Suleiman views the occupation as implacable, his neighbour (who is mentally broken by the occupation) one day converses with Suleiman's father and says that he's discovered the secret to fight the occupation, the answer is the (un-Muslim) option of drinking arak, once drunk on arak, the Israeli planes are close enough to be plucked out of the air. That's the level of impotence that I think the characters in the film feel about events.

I think there's a sense of shame as well. I remember when Cheney's forces invaded Iraq, the speed with which they overcame the nation was viewed as a great shame for Arabs across the entire Middle East. The capitulation of Palestine is depicted the same way here, total and almost immediate, with the Mayor of Nazareth signing over the city to the Israelis without a word of protest. All we really see of Palestinian soldiers is a bunch of them jettisoning their keffiyehs and weapons and running for dear life before an engagement has even started. One man marches into an Israeli post and shoots himself as an act of defiance and protest, but this is portrayed with nil gravitas by Suleiman, as pointless as shouting at the wind.

The film is really a treasure trove of absurd vignettes that I don't want to delve into too deeply and spoil the movie for you, but I've got a list of at least ten other highly memorable moments in this film.

For you all you Americans out there, the movie is quite hostile towards American foreign policy. You won't see an American in the movie though. I don't think it's that controversial, it's pretty clear that the only real special relationship the US has had over the last half a century, in foreign policy terms, has been with Israel, and that's been to the detriment of the Palestinians.

I think the movie is a masterpiece of cogent dissent.

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