Dear all;

Film yang diproduksi oleh cineas negara-negara Arab sekarang ini banyak 
mendapat perhatian dunia, karena kualitas artistiknya yang tinggi, antara lain 
ada yang berhasil meraih [penghargaan sebagai film terbaik di berbagai festival 
film, termasuk yang bergensi seperti Festival Film di Cannes. Perancis. Pada 
2002 saja ada sebuah film buatan sineas Palestina Elia Suleiman berjudul Divine 
Intervention [Yadon Ilaheyya] memenangkan salah satu hadiah di sana.

Saya baru saja menonton film buatan sineas Tunisia Raja Amari berjudul Satin 
Rouge. Film in sekarang sedang populer di AS dan Eropah, terutama di kalangan 
gadis-gadis generasi terkini yang mengenakan pakian meniru tata busana penari 
perut yang merupakan warisan nenekmoyang bangsa SArab di Timur Tengah itu. Plot 
cerita sungguh di luar dugaan, terutama sekali di luar tradisi rutin (dan 
membosankan) Holiwud itu. Tak terbayangkan oleh saya film dengan plot seperti 
ini akan diproduksi di AS. Uniknya saya mendapatkan film ini di tempat 
penyewaan video Hollywood di Rocville. Mereka punya koleksi film terg]=olong 
foreign yang bagus! Kalau Anda sama bosannya dengan saya terhadap film-film 
buatan Holiwuud, silahkan datang ke tempat penyewaan itu.

Di bawah ini saya kutipkan penjelasan singkat tentang (1) buku yang membahas 
Sinema Arab, (2) daftar beberapa film yang beredar (dalam bentuk DVD maupun 
kaset video) di AS, Kanada dan Eropah, dan akhirnya (3) tentang film Divine 
Intervention [Yadon Ilaheyya] karya Elia Suleiman itu.

Kalau mau melongok lebih dalam, silahkan buka situs distrubutornya:
http://www.arabfilm.com/index.html


Enjoy!

Ikra.-
====== 
 


http://www.arabfilm.com/index.html 
(1) Book:
Arab Cinema: History and Cultural Identity      
by: Viola Shafik
1998, 255 pages, in English

Combing detailed narrative history with thought-provoking analysis, this study 
provides extensive coverage of cinema in the Arab World, tracing the industry's 
development from colonial times to the present. It analyzes the ambiguous 
relationship with commercial western cinema, and the effect of Egyptian market 
dominance in the region. 
Covering North African, Syrian, Palestinian, Iraqi, and Lebanese cinema, Arab 
Cinema traces the influence on the medium of local and regional art forms and 
shows how indigenous and external factors have combined in a dynamic process of 
'cultural repackaging.' 

(2) Arab Cinema: Feature Films

Bent Familia
Nouri Bouzid
1997
105 minutes 

Bye Bye
Karim Dridi
1995
107 minutes 

Gulf War, What Next?, The
Borhane Alaouie, Nouri Bouzid, Mustapha Darkaoui, Nejia Ben Mabrouk, and Elia 
Suleiman
1991
109 minutes 

Halfaouine: Boy of the Terraces
Ferid Boughedir, 1990, 98 minutes 

Honey and Ashes
Nadia Fares
1996
80 minutes 

Man of Ashes
Nouri Bourzid
1986
109 minutes 

Satin Rouge
Raja Amari
2002
95 minutes 

The Silences of the Palace
Moufida Tlatli
1996
127 minutes 

The Sultan of the City
Moncef Dhouib
1992
100 minutes 

A Summer In La Goulette
F?rid Bough?dir
1996
100 min. 

(3) Winner: Jury and Fipresci Prizes - Cannes Film Festival 2002

Divine Intervention
[Yadon Ilaheyya]

"One of the top ten films of the year!" - Richard Corliss, Time Magazine 
"(The) film achieves a level of artistry and firm control over a clear, concise 
vision." - Kirk Honeycutt, Hollywood Reporter
Director: Elia Suleiman 
 Year: 2002 
 Time: 92 
 Language: In English, Arabic and Hebrew with English subtitles
In this darkly comic masterpiece, Palestinian director Elia Suleiman utilizes 
irreverence, wit, mysticism and insight to craft an intense, hallucinogenic and 
extremely adept exploration of the dreams and nightmares of Palestinians and 
Israelis living in uncertain times. 
Subtitled, "A Chronicle of Love and Pain," DIVINE INTERVENTION follows ES, a 
character played by and clearly based upon the filmmaker himself. ES is 
burdened with a sick father, a stalled screenplay and an unrequited love affair 
with a beautiful Palestinian woman (Manal Khader) living in Ramallah. An 
Israeli checkpoint on the Nazareth-Ramallah road forces the couple to 
rendezvous in an adjacent parking lot. Their relationship and the absurd 
situations around them serve as metaphors for the lunacy of larger cultural 
problems. The result is a palpable rage that is both personal and political. 





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