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Maquetaci—N 1 The Time That Remains Sala de proyecciones de Casa Árabe. c/ Alcalá, 62. 28009, Madrid. junio Película en V.O.S .E. Entrada libre hasta completar el aforo, previa 18 2012 19:30 h retirada de entradas -una por persona- a partir de las 19:00 h . 122 junio 29 2012 19:30 h Fich a técnica Festivales y premios Título: The Time That Remains - Sección oficial. Festival de Cannes, 2009. Nacionalidad: Palestina, Reino Unido, Italia, Bélgica - Selección oficial. Festival de cine de Londres (BFI), 2009. y Francia. - Gran Premio del Jurado. Festival Asia Pacific Screen, 2009. Año de producción: 2009 - Premio al Mejor Director y el Premio del Jurado. Festival Dirección y guión: Elia Suleiman de Cine de Mar del Plata, 2009. Producción: Elia Suleiman y Michael Gentile Montaje: Véronique Lange Fotografía: Marc-André Batigne Dirección artística: Sharif Waked Música: Yasmine Hamdan Sonido: Pierre Mertens y Christian Monheim Intérpretes: Elia Suleiman, Saleh Bakri, Samar Qudha Tanus, Shafika Bajjali, Tarek Qbti, Zuhair Abu Hanna y Ayman Espanioli Duración: 109 minutos Sinop sis En las horas previas a la rendición de Nazaret, cuando La opinión de la crítica se gestaba la creación del Estado de Israel en 1948, Fuad, un miembro de la resistencia palestina, es sepa - The Time That Remains es una película semibiográfi - rado de Thuraya, el amor de su vida. Ella huye del ca, compuesta por cuatro segmentos históricos, que conflicto y viaja a Jordania con su familia, mientras comienza en 1948 y se extiende hasta el presente. Es la his - que Fuad es capturado antes de escapar. Los años toria de la fami lia de Elia Suleiman recreada a través pasan y Nazaret sigue bajo la ley marcial. La película incor - recuerdos enlazados, notas de los diarios de su padre y po ra los recuerdos más personales del director acerca cartas que su madre envió a sus familiares. [...] de su propia familia y trata de reflejar la vida diaria de los palestinos que se quedaron, los “ára bes israelíes”, que La representación de 1948 que hace Suleiman no es precisamen te viven en minoría en su propia tierra natal. la que uno puede esperar, y es porque no pretende recrear el acontecimiento histórico y cataclismo complejo, colectiva mente Biografía y filmografía del director experimentado, en toda su totalidad. En cambio, nos ofrece un brillante y soleado día en Nazaret; un solitario y tonto solda do Elia Suleiman nació en Nazaret, Palestina, en 1960. En 1994 del Ejército de Liberación Árabe que se dirige a liberar Tiberia comenzó a trabajar como profesor en la Universidad de y Haifa; la radio anunciando la llega da de las Fuerzas de Birzeit, cerca de Ramala. Dentro de esta institución creó el Defensa de Israel para proteger a la gente de Galilea de la Departamento de Cine y Medios de Comunicación, “banda criminal” que se está haciendo pasar por el ejército de auspicia do por la Comisión Europea. Su primera película, liberación, y un soldado israelí que le da instrucciones a un Crónica de una desaparición (disponible en la mediateca de confundido alcalde que no entiende el idioma en el que le habla. Casa Árabe), ganó el Premio a la Mejor Opera prima en el Festival de Cine de Venecia en 1996. Seis años más tarde, En una entrevista con Electronic Intifada en 2010, Suleiman obtuvo el Premio del Jurado en el Festival de Cannes con declaraba que sus películas no sólo tratan sobre Palestina, Intervención Divina . sino que “son Palestina”, y explicaba al entrevistador: “(son Filmografía: To Each his Own Cinema (2007); Intervención Palestina) porque soy de ese lugar. Reflejo mi experiencia, Divina (2002); Cyber Palestine (1999); Crónica de una des - pero identificándome con todos los palestinos que existen. El aparición (1996); The Gulf War, What Next? (1993); término ‘conflicto árabe-israelí’ es ajeno a mí, en el sentido Introduction to the End of an Argument (1990). que es un término poético, que no corresponde a la realidad. No creo que mis películas traten sobre esta expresión.”. Y, diversos silencios rellenan huecos que el lenguaje no podría, como artista, añadía: “Ante todo, tienes que tener fe en que tu y sustituye a lo que se quedaría sin decir en la más locuaz de experiencia no es individual; es una experiencia universal... las narraciones; comunican algo que se siente profundamente Cuando compones una imagen nunca debes pensar en los pero no puede describirse adecuadamente. Se invita al espec - límites de la misma. Si esta imagen existe en un escenario, tador a participar en el desarrollo de la película, a compartir debe transgredir los límites de este escenario... Esto no con - un momento secreto con la familia de Suleiman moldeado por siste en moldear o resumir una experiencia que tiene lugar en su propia subjetividad, por su perspectiva única que nos guía Palestina, sino que atañe a todas las experiencias que se pue den a través de la película y nos hace entender la historia. denominar conceptualmente como ‘aliadas palestinas’”. Se puede pensar en la película como si fuera un poema, o En su, en cierto modo, cómica descripción de la rendición de incluso un espectáculo de danza en cuatro partes, que es Nazaret, Suleiman no parodia la tragedia, ni tampoco menosca ba la ambiguo pero profundamente visceral, que no solamente se te seriedad y el horror que supuso la Nakba; lo que hace presenta delante sino que actúa en tu interior, incluyéndote en es mag nificar un aspecto de la misma que trasciende su trama, como una plétora de potenciales respuestas sus par ticularidades, un aspecto que muy frecuentemente ha emocio nales y asociaciones mentales. Muchas de las escenas deja do de discutirse y que comparten no solo la mayoría de han sido rodadas en planos muy cortos, haciendo que la pelí - los conflictos, sino también los movimientos nacionalistas y cula parezca aun más personal, como para que el espectador las relaciones entre Estado y sociedad. Es esta “cosa” que sen - tenga la sensación de estar observándo desde detrás de cada timos cuando oímos a Bashar Al-Assad calificando a los pared o cada puerta, a través de la ventana, introduciéndose manifestantes inocentes como bandas armadas, a pesar de que en la vida de la familia [...]. existen todas las evidencias de lo contrario; cuando oímos a George Bush divagar sobre las armas de destrucción masiva en Iraq y su objetivo de conseguir la paz en Oriente Medio; cuando vemos que Israel ataca a una flotilla pacífica y asegu ra que es en defensa propia. Es esta absurdez en la que se adentra Suleiman. La Nakba (que aun continúa) no es sola - mente trágica, es absurda [...]. No es algo que se limite a la experiencia palestina, sino algo con lo que todos, de una manera u otra, estamos relacionados [...]. Retratar la ocupación de forma cómica no significa restarle seriedad, sino resaltar su ridiculez, enfatizar la absurdez de una ocupación colonial en un siglo XXI de (supuestos) dere - chos humanos y democracia. En el fondo de estas absurdas El subtítulo de la película es Crónicas de un presente ausente . escenas de la ocupación vemos fragmentos de la lucha diaria Suleiman, en las diversas etapas de su vida que presenta, está palestina de resistencia, una resistencia que no está necesaria - en un segundo plano, permanece al margen observando a los mente relacionada con el conflicto armado y los esfuerzos demás. Parece que observa su entorno con una inocen te per - diplomáticos, sino con algo más sutil. Es una resistencia que plejidad y con pena, una expresión que recuerda a los senti mientos tiene lugar en la cotidianeidad, es el intento de vivir una vida simultáneos de familiaridad y distancia que experimentan medio normal a pesar de la sobrecogedora situación. [...] tanto los palestinos que residen a Israel, como los que regre san a Israel/Palestina desde el extranjero. Viendo al joven Suleiman, En la película se dice muy poco, pero se comunica mucho a así como a su solemne padre, creciendo, habitando su silen - través de la ausencia de diálogos. El filme se revela a través cio y melancolía, uno empieza a sentir que, incluso los pales - una especie de anti-narrativa, adoptando una perspectiva no tinos que residen dentro de las fronteras de Israel, viven en lineal y con rodeos para dar al espectador una versión no una especie de exilio, habitan en una ciudad en la que han épica de la historia. Suleiman se desvía de la narración nacido, pero que cada vez les resulta más ajena e incluso hostil. [...] tradicional de la Nakba , que suele centrarse en eventos dramáticos, amplia mente experimentados por la colectivi - Uno de los numerosos logros de The Time That Remains es su dad y relatados de forma cronológica. En lugar de eso, abre habilidad para inquietar y lo logra, simplemente, evitando dirigir se una mirilla íntima a la vida cotidiana de una familia árabe que al cerebro del espectador (lo que hacen, con un lenguaje monótono vive como parte de una minoría en Israel. [...] Suleiman sobre muerte y guerra, los medios de comunicación), mezclando lo trans mite sus recuerdos de forma sensual, a través del peso visceral con lo particular, la experiencia verdaderamente de las expresiones faciales -una coreografía de gestos humana de una familia. Suleiman explica: “en el terreno de lo corpo rales tranquilos-, conmovedoras melodías de Leila cotidiano es donde la historia ejerce más impacto sobre nosotros”. Mourad y Nagat Al-Saghira que a menudo ocupan el silencio sustituyendo al diálogo, y vistas diurnas, colores y sonidos de Extratos del artículo escrito por Sophie Chamas para Nazaret. La falta de diálogo no crea un vacío, sino que los KALIMAT.
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