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The Time That Remains (2009)

Not Rated | | Drama, History | 12 August 2009 (France)
Trailer
1:13 | Trailer
An examination of the creation of the state of Israel in 1948 through to the present day.

Director:

Elia Suleiman

Writer:

Elia Suleiman
5 wins & 6 nominations. See more awards »

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Cast

Cast overview, first billed only:
Menashe Noy ... Taxi Driver
Elia Suleiman ... ES
Baher Agbariya Baher Agbariya ... Iraqi soldier
Saleh Bakri ... Fuad
Amer Hlehel Amer Hlehel ... Anis
Alex Bakri Alex Bakri ... Poet Who Shoots Himself
George Khleifi George Khleifi ... Mayor
Razi Shawahdi Razi Shawahdi ... Man with Mayor in Car
Nathan Ravitz ... Haganah General (as Nathan Ravitch)
Alon Leshem ... Haganah Commander
Gideon Levy Gideon Levy ... Haganah Officer
Adi Krispin Adi Krispin ... Haganah Photographer
Oded Pines Oded Pines ... Haganah Officer
Mundir Hakim Mundir Hakim ... Fuad's Father
Pini Klavir Pini Klavir ... Haganah Officer
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Storyline

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

Plot Summary | Plot Synopsis

Genres:

Drama | History

Certificate:

Not Rated | See all certifications »
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Details

Official Sites:

Le Pacte [France]

Country:

UK | Italy | Belgium | France | Palestine | Israel

Language:

Arabic | Hebrew | English

Release Date:

12 August 2009 (France) See more »

Also Known As:

The Time That Remains See more »

Filming Locations:

Israel See more »

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Box Office

Budget:

$6,500,000 (estimated)

Opening Weekend USA:

$6,453, 9 January 2011

Gross USA:

$32,869

Cumulative Worldwide Gross:

$1,037,505
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby Digital | DTS

Color:

Color

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Goofs

The position of the chairs around the table in the house where Fuad takes the wounded man changes depending upon which direction the shot is from. See more »

Connections

Features Spartacus (1960) See more »

Soundtracks

Jafnoho Allama El Ghazal
(Beshara El Khoury / Mohamed Abdel Wahab)
Performed by Mohamed Abdel Wahab
© EMI Music Arabia
(P) 1962 Sout El Phan
Courtesy of EMI Music France
See more »

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User Reviews

 
Half a century of tragedy is squeezed into an hour and a half of a laconic and precisely targeted shock therapy.
8 January 2012 | by camilla_steinSee all my reviews

Sometimes, life throws at us things that over the years become too big to comprehend. Such are natural disasters, pandemic diseases, nuclear explosions, and wars.

In his movie, released in 2009, Elia Suleiman sets on a journey to explore the genre of black comedy, so as to reveal to us the secret of coping with a tragedy of which the magnitude is overwhelming.

It is the nature of human mind to always look for some form of normality, maybe a little static, but nevertheless, a feeling that your bases are covered, your life has a purpose and your entire existence in a certain place and at a certain time is not meaningless. This is what we, humans, do when gun battles, tanks and security surges are suddenly a persistent part of the daily routine. And this is exactly the focus of The Time That Remains. Half a century of tragedy is squeezed into an hour and a half of a laconic and precisely targeted shock therapy.

Despite its smoothness and an accurately placed hint of suspense, this movie doesn't truly give you a moment of rest. There's no wallowing in self-pity here, no destructive mind blowing imagery; even the garden of executions is so well carved into the texture of the surrounding neighborhood that it appears natural despite your mind telling you that what you are looking at is a yelling contradiction to what is humanly acceptable.

There's also no conflict, in a traditional sense of the word, around which the story would evolve. All there is is a deceptively distanced and only seemingly uninvolved bitterly comic narration about generations of painful struggle to remain human in a filled with nonsense reality, where even a direct participant finds himself merely an observer, trying to just be.

The movie strikes as grotesque, largely satirical, very reflective and detailed. This effect doesn't wear off till the very last scene.

When telling the truth becomes a taboo, the sensationalism of this movie is found in the peculiar way of drawing attention to what should not be discussed, because the subject makes us uncomfortable.

Elia Suleiman resorts to various means offered by cinematography in order to break the unbreakable, to jump over the wall.

There are no loud graphic scenes in this movie, nothing at all that an adult cannot handle; yet, it is heavily loaded with incredible emotions that run deep in the film's canvas, leaving you gulp for air at times.

When deciding whether or not to watch this movie, don't hesitate. Just watch. And prepare lots of tissues, even if you are known for having a thick skin.


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