It Must Be Heaven

V'19

It Must Be Heaven

Elia Suleiman
F/Katar/Kanada/D/Türkei, 2019
Features, 97min, OmdU

© Viennale © Viennale © Viennale

It Must Be Heaven

Elia Suleiman
F/Katar/Kanada/D/Türkei, 2019
Features, 97min, OmdU

Mo
04
Nov
20:30
Gartenbaukino
Di
05
Nov
16:00
Urania
Mit: 
Gael García
Ali Suliman
Elia Suleiman
Grégoire Colin
Holden Wong
Kwasi Songui
Bernal Sebastien Beaulac
François Girard
Gabrielle Mankiewicz
Drehbuch: 
Elia Suleiman
Ton: 
Gwennolé Leborgne
Kamera: 
Sofan El Fani
Schnitt: 
Véronique Lange
Kostüm: 
Alexia Crisp-Jones

Produktion: 
Rectangle Productions
Nazira Films
Doha Film Institute
Pallas Film
Possibles Média
Zeynoflm
Weltvertrieb: 
Wild Bunch
Verleih in Österreich: 
Polyfilm
Format: 
DCP
Farbe

Elia Suleiman war nie wirklich weg, hat sich nur versteckt. In seinem Comeback erkundet der palästinensische König des Deadpan-Absurdismus die Welt. Das heißt, er zeigt ein globalisiertes Palästina. Auf einer Reise durch sein Heimatland, Paris und New York agiert der wie gewohnt sich selbst spielende Filmemacher als stummer Beobachter von allerhand Merkwürdigkeiten. Er demonstriert, was es bedeutet, hinter Zäunen zu leben, und reflektiert dabei virtuos sein Leben als Filmemacher. Das erinnert gleichermaßen an Jacques Tati wie an NAPOLEON DYNAMITE. Mal ist das politisch, mal macht es einfach nur Spaß und meist beides zugleich. (Patrick Holzapfel)

In Anwesenheit von Elia Suleiman.

 

The character played by Elia Suleiman in IT MUST BE HEAVEN is an enigmatic man who observes everything and says nothing, traveling first to France and then to the United States in search of funding for a film. In Paris, his project is rebuffed for not being Palestinian enough, although it does avoid exoticism and the conflict with the Israelis; in New York, he is directly ignored. What is genius about Suleiman’s film is the degree of perfection in his poetics of the absurd. Through this character, who watches everything from afar, everyday practices mostly become absurd. In Paris, a military parade, a ridiculous police checkpoint or a nurse who attends a man sleeping on the street as if he were a passenger on a commercial flight all expose a human comedy not devoid of cruelty. Nonsensical situations also abound in New York; what happens there when the character goes to a supermarket is the best gag of the year, because it uses ridicule to “denature” the acritical acceptance of unacceptable practices in this heterodox political film. The humorous deconstruction of delirium is a prerogative of only the best film comedians. (Roger Koza)

In the presence of Elia Suleiman.

Elia Suleiman: INTRODUCTION TO THE END OF AN ARGUMENT (1990, Ko-Regie), THE GULF WAR, WHAT NEXT? (1993), CHRONICLE OF A DISAPPEARANCE (1996), WAR AND PEACE IN VESOUL (1997), THE ARAB DREAM (1998, K), CYBER PALESTINE (1999), DIVINE INTERVENTION (2002), THE TIME THAT REMAINS (2009), 7 DAYS IN HAVANA (2012)