Less schematic than Chronicle of a Disappearance, Suleiman’s 1996 feature. Such are a few of the scattered, strangely affecting moments of Elia Suleiman’s Divine Intervention, a film that would seem to owe more to avant-garde choreography and the cinema of Michael Snow than to narrative film, were it not so insistently “about something” besides its structural ingenuity. visits his father in the hospital-as elsewhere, dialogue is absent-and arranges the shots of the movie we’re watching by sorting yellow Post-Its affixed to the wall of his Jerusalem apartment. Her lover, E.S., the son of the man who collapsed, casually tosses an apricot pit from his car window, causing an Israeli tank to explode.Īfter several meetings in a parking lot near the checkpoint, where they silently hold hands and observe the harassment of motorists by fatuous border guards, E.S. A radiant woman defiantly strides through a checkpoint on the road between Jerusalem and Ramallah, paralyzing the nervous guards, mysteriously causing the sentry tower to crash over on its stilts.
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