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Event Info

W H A T :
  • Director: Elia Suleiman, France, 2009, running time 109 minutes, in Arabic, Hebrew and English with English subtitles. Festival circuit, 2009 and 2010; U.S. theatrical release 2011. Filmed principally in Nazareth, also in Ramallah.
  • Genre: History; autobiographical memoir and drama infused with dark comedy.
  • Social hour 60 minutes before each screening, with cash bar.

  • W H E N :
  • Tuesday, November 15, 7:30 pm
  • Wednesday, November 16, 7:30 pm
  • Doors open for social hour at 6:30;
    seating at 7:00, film at 7:30.

  • W H E R E :
  • The Carnegie Arts Center
    1028 Scott Blvd., Covington KY 41011  
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  • T I C K E T S :
  • Tickets are $8 in advance and $10 at the door.*
  • Tickets for students and Enjoy the Arts members with valid ID are $8*, available only at the door.

  •  * NOTE: Any ticket physically sold by the CARNEGIE incurs a $1.00 facility charge IN ADDITION to the face value of the ticket -- this applies to tix purchased in advance by phone or in person, and tix sold at the door.

  • How to get Tickets
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    859-491-2030, Tue-Fri 12-5p
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    Discussion Leaders

    Andrea Gazzaniga
    Tuesday, November 15

    Andrea Gazzaniga A graduate of Wellesley College (BA magna cum laude, English & Italian, 1995) and Cornell University (MA English and American Literature, 2001 and Ph.D. 2004), Dr. Gazzaniga came to Northern Kentucky University in 2010 from a teaching position at the University of North Carolina, Charlotte.

    In addition to teaching English and Victorian Literature, Andrea also specializes in Cinema Studies, has taught courses on the films of Alfred Hitchcock and is currently offering a course on film noir in the Fall semester.

    John Alberti
    Wednesday, November 16

    John Alberti A graduate of the University of Southern California (BA, English, 1981) and UCLA (MA, English 1984 and Ph.D., English, 1989). Dr. Alberti has been teaching at Northern Kentucky University for twenty years, where he focuses on the relationship between American literature and popular culture as evidenced in cinema, television and music.

    Currently Director of the Cinema Studies program and Professor of English, John has been instrumental in bringing the Festival of New French Films to NKU — look for the third annual series in the Spring of 2012.  
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    §>   If the clip does not load correctly, watch it here.   <§  

    Striking visuals and witty irony frame a powerful
    story about the survival of dignity and humanity

    In The Time That Remains, Arab-Israeli director Elia Suleiman brings us a highly personal, episodic story about Arab life in Israel, based on his own experience and his parents' letters and diaries dating back to 1948. Most of the film was shot in and near his family home in Nazareth, in Israel proper, not occupied territory.

    This film is important for historical reasons: beyond the often inflammatory sensationalism of video clips and sound bites, Americans receive little insight regarding life in recent decades, and now, for Arabs in Israel. In a series of vignettes, Suleiman unfolds his family history, starting with his father's resistance experience in the late forties, his own childhood in the seventies, young adulthood and departure from Israel in the eighties and present-tense return in middle age to reconcile with his dying mother. It is worth noting that the Suleiman family is Christian, a minority within a minority living in Israel.

    The Time That Remains is cinematically intriguing as well, using skillful framing and a vignette format to combine deadpan comedy and melancholy resignation in a poignant exploration of the Palestinian identity. In personalizing the endless conflict, Suleiman melds his family history with elements of visual fantasy to display the foibles of Arab and Israeli coexistence — an approach that engages the audience without forcing judgment.
    While some filmmakers might address the subject polemically, with an angry, in-your-face immediacy, Suleiman purposefully follows a different path, artfully conveying irony and absurdity in a manner thematically and visually reminiscent of Kafka, Keaton and Tati. His darkly funny imagery, minimalist approach and ability to consider the subject from a greater, less emotional distance, lend to a humanist aesthetic that succeeds where other attempts (ex: Julian Schnabel's Miral) have failed.
    Senior Film Critic A. O. Smith, writing in the New York Times:

    "Mr. Suleiman, an Arab born in the Israeli city Nazareth in 1960 and currently living in Paris, has an exquisite eye for the conflicts and contradictions that bedevil his native city, but he examines them without polemics or sentimentality.

    "The Time That Remains has the scope of a historical epic with none of the expected heaviness. It presents a half-century of tragedy and turmoil as a series of mordant comic vignettes. Imagine a heroic poem boiled down to a flurry of witty epigrams, or a martial statue made of origami, and you will have some idea of the improbable way this filmmaker folds big themes into delicate forms.

    "Mr. Suleiman traffics neither in hatred nor in the romanticism of lost causes. Instead he finds comedy in cruelty, and also the reverse."
         Read the complete review

    Film Critic Mark Keizer, writing in Box Office Magazine:

    "... a unique emotional entry point into the Palestinian dilemma, one that uses static shot composition and humor to clarify and comment, not to generate cheap laughs ...   The power of Suleiman's approach is its lack of political proselytizing or vengeful anti-Israeli point-scoring. ... [it's] the story of a boy (and, by extension, a people) sitting at the station for over half a century, waiting for a future that's stalled on the tracks."
         Read the complete review

    About the Director

    Check out this interview of Elia Suleiman by Damon Smith at Filmmaker Magazine, in addition to the biographical excerpt below.

    Award-winning Palestinian filmmaker Elia Suleiman makes idiosyncratic films about the endless conflict between Arabs and Israelis, stitching together wryly humorous tableaux that speak to the absurdity of life under occupation. Suleiman's latest effort, The Time That Remains, continues the semi-autobiographical explorations of his previous features, 1997's Chronicle of a Disappearance and 2002's critically acclaimed Divine Intervention, winner of a Jury Prize and a FIPRESCI Prize at Cannes.
    Elia Suleiman Suleiman himself is often a character in these dramas, a mute witness quietly observing the agitations of the Middle East at ground level, with lidded eyes and a mournful face that commentators have repeatedly likened to Buster Keaton's. As a youth, Suleiman (now 50) fled a pending arrest warrant in Nazareth (the authorities were under the impression he was a gang member) and moved to London, where he met author John Berger, an important mentor and lifelong friend whose Ways of Seeing literally opened his eyes to the world. Later, in New York City, he befriended the late critic Edward Said and producer James Schamus, both of whom exerted an equally powerful influence on Suleiman's intellectual development and future film art.       Read more about Elia Suleiman at Wikipedia.