In her cinematic works, Palestinian American writer, director and actress Cherien Dabis has been closely specific to family stories since “Amereka” (2009). This was the first elegant appearance of director director, humble and completely humble from a mother and a Palestinian son, who moved from the occupied West Bank to Chicago when winning the green card. Dabis was not able to seize the same level of narrative confidence in “May in the Summer” (2013), but some moments and ideas in her new movie, “All that remains from you”, even if her sprawling epic is around a family characterized by long generations. The term feels unnecessary swelling in the wake of this.
However, one cannot completely blame Dabis to be a bit tolerant with the latest, which follows a Palestinian family, at first barely lives, then lives under the Israeli occupation within nearly eight decades, over three generations. Despite the continuous destruction in the region, the harsh history of the occupation of Palestine is not a subject that is often done by the dominant cinema. In that, there is an active intention for “all that remains from you” to fill this void, with the aim of being a decisive history in a period of impossible to summarize in one movie. The results are mixed, but Dabis tries to balance and boldly to rotate its narration for approximately 150 minutes from the Palestinian conflict. Spiritally guides the personal and family memories of the Dibs, sometimes the narrative film raises deeply, and sometimes heavy, often impedes cinematic Christopher Aoun.
We played Hanan in a careful way, Hanan takes us to the story, and we look at a person we cannot see and pledge to share the story of her son with them. “I am here to tell you who is my son,” she says, noting that the film will be a long intelligence that leads to this moment and reveal the mysterious listener. However, Hanan does not start with her son Nour, but with the grandfather of Nour Sharif (Adam Bakri) lives in Jaffa in 1948, the year of the Arab -Israeli war. Sharif and his family, a man who is in the hair, bears bombings and cheats daily in their beautifully appointed home surrounded by an orange orchard. But the family – which includes Ibn Sharif Salem – ultimately explains, with the destruction of her home and orange Group. After a while in the refugee camp, with the Israeli soldiers considering land acts unable, the narration jumps to 1978, to an area inhabited by the Palestinians in modest quarters, without citrus trees and with the normal curfew.
This is the section in which Dabis makes a more stable narrative, which leads to the best instincts and the worst film. For the latter, there is a lot of invisible and illustrating dialogue to roam while the family (which now includes Hanan) watch TV and interact with the events around them. For the previous one, Dabis embraces the affection of the traditions that the Palestinians possess for dear life. A beautiful wedding ceremony poured into the streets in one scene. And the dignity of daily life in the neighborhoods flourishes in others.
The most effective scene in the part of the part (perhaps even from the entire movie) arrives when Salim (Salem Bakri) and his son Nour stopped by the Israeli soldiers, a few minutes from the curfew, while operating a pharmacy of Sherif (Mohamed Bakri in the ages of the oldest) . The scene, where the Israeli soldiers (in Breaking the Arabic languageSince the translation is often and calm deliberately in the entire film), Salim Al-Alal is without a heart, in front of his son, has new Italian chain-burning, honest and charming spirit. It is also a pivotal position in a basic position of the personality and motives of Nour (Muhammad Ahed Elraman at an older age), after the child witnessed his father submitting fear in front of the fatwas, without regard to his honor. When you scream on the face of your father, “You are a coward” at this early age, his shock is for life for life.
The jump to 1988, the chapter in which Nour is shot during a street protest, is the most revised movie episode, as both acting and circumstances surrounding the family felt that he was forced. It seems that the drama has rushed, leaving a small space until the light of growth becomes a good personality before getting out of the image. Dabis is still sensitive and calm in the NOOR funeral depiction, which leads to a symbolic health of people’s sadness through a painful view that enrichs the studied details of Islamic traditions. Elsewhere, the dilemma in the heart of the part is whether Hanan and Salim will donate Nour members to the needy beneficiaries (the Israeli received) when his sudden demise was a bankruptcy system that the Israeli profession imposed to start.
Without spoiling the final decision of the couple (although it should not be difficult to guess in such an ethical moral film) or the identity of the listener mentioned above, it is sufficient to say that Dabis offers a generous separation message about the sanctity of all human life, While celebrating the constant sadness of its people. On the whole – Unlike Walter Salis, “I am still here”, who sees a Brazilian dictatorship through family’s eyes – is trying to preserve her historical mother’s memory in a cinematic form. While its outstretched conclusion in modern Java is exaggerated, the useful way to get a stir is worth traveling, no matter how rugged.
