Paradise Now (2005)
★★ / ★★★★
Coming into this film, I expected a typical war movie with a lot of violence because it was essentially about suicide bombers so I was surprised when it turned out to be quite low-key yet still have some sort of power that drives the story forward. Two friends named Said (Kais Nashif) and Khaled (Ali Suliman) were ordinary mechanics but later decided to take on a mission when a friend (Amer Hlehel) convinced them that there is a way for them to lead a meaningful life. Frustrated with the current state of things, they made their decision without putting much thought into it. However, they found themselves toying with a plethora of emotions as they had a final dinner with their families and lying about the nature of the job they’ve taken in Tel Aviv. My problem with this film was not the story or its lack of tension. It’s just that even though I felt bad for the two lead characters, I didn’t feel connected to them because I didn’t agree with the paths they’ve chosen. And I don’t think we’re supposed to agree with them. Maybe we were simply supposed to sympathize with their circumstances. The highlights of the film include the scene where they recorded messages to their families explaining why they chose to do what they did and the scene where the lady (Lubna Azabal) that Said was romantically interested in told Khaled that their idea of a paradise was only in their heads and could never be a reality. I admired this film’s intelligence. Instead of taking us to the path of the obvious (for instance, suicide bombers being total heartless monsters), it managed to offer an explanation on why they felt like they were obligated to perform such drastic actions. The characters often talked about their religion. Since I don’t identify myself with any religious group, I guess sometimes it’s difficult to understand that some people consider their religion very seriously. I can imagine that it’s also just as difficult for someone who identifies with a very different religion to relate to the characters in this film. However, I did think that sometimes this movie had moments of preachiness; I preferred it when Hany Abu-Assad, the director, let the images do the talking so it was up for the audiences to interpret what they think of the movie’s message. “Paradise Now” is a small movie with powerful moments sprinkled throughout and brilliant use of contrasting images and ideas. I just wish it had been more consistent.