Die Suche nach der Heimat: The Time That Remains von Elia Suleiman

Ein israelischer Taxifahrer, ein Dampfplauderer, auf seinem Weg vom Flughafen durchs israelische Niemandsland. Der Fahrgast auf der Rückbank ist zunächst nur schemenhaft zu erkennen. Blitz und Donnergrollen kündigen ein Gewitter an und schon bald ist von der Welt rund um den Wagen nicht mehr zu erkennen, als ein verschwommener Regenschleier. Der Fahrer hadert mit seinem Schicksal, verliert die Funkverbindung zur Taxizentrale und schließlich die Orientierung: „Was ist das für ein Ort? Wie komme ich wieder nach Hause? Wo bin ich?“

Mit einer langsamen Schwarzblende verlassen wir Fahrer, Taxi und Fahrgast und begeben uns ins Nazareth des Jahres 1948, wo gerade der Kampf zwischen Israelischen und Arabischen Truppen tobt. Unser Interesse gilt nun Fuad Suleiman, dem Vater von Elia, dem Fahrgast von zuvor und Alter Ego des Regisseurs. Nach der Kapitulation der arabischen Freiheitskämpfer stellt Fuad nun Waffen für den Widerstand her, während Teile seiner recht wohlhabenden Familie versuchen das Land zu verlassen.

Mutter und Vater im Jahr 1948Wer mit dem Werk des palästinensischen Filmemachers Elia Suleiman bereits vertraut ist, wird sogleich die starken politischen Töne und sorgfältig konstruierten Tableaus erkennen, die sein Werk prägen. Auch in anderer Hinsicht bleibt sich Suleiman in The Time That Remains treu: Seine Alter Egos – altersbedingt in dreifacher Ausführung – bleiben den Film über stumme Beobachter und der Film ist geprägt von einer Reihe absurder Possen, die sich in gewohnter Deadpan-Manier abspielen. The Time That Remains ist im Kern trotzdem ein untypischer Suleiman-Film. Dem historischen Kontext und seinem Quellenmaterial – Briefe und Tagebücher seiner Eltern – geschuldet, finden sich vermehrt längere Dialogszenen und die verschiedenen Episoden des Films sind chronologisch aneinandergereiht. Die Episodenhaftigkeit, sprich narrative Fragmentierung, die in früheren Filmen ein Verfremdungselement darstellte, wird so zur Konvention. Deshalb wirkt der Film ein wenig schal und allzu bemüht seine politische Eindeutigkeit hinter Slapstick-Komik zu verbergen. Anders als in Suleimans früheren Werken ergibt sich die Ambivalenz des Politischen, die sowohl das israelische, als auch das palästinensische Publikum zu spalten gewusst, und dem Regisseur von beiden Seiten Kritik eingebracht hat, nicht aus der Form selbst heraus, sondern wirkt aufgesetzt. Nur in wenigen Szenen gelingt es Suleiman die Radikalität seiner politischen Botschaft in einer Pointe aufgehen zu lassen (und nicht umgekehrt die Pointe aus der politischen Botschaft zu entwickeln) – auffallender Weise handelt es sich dabei immer um kurze Teilstücke, die bloß in die Narration eingeschoben zu sein scheinen. So zum Beispiel am Anfang des Films, als sich ein Trupp israelischer Soldaten mit den Kopftüchern desertierter Araber kostümiert und durch die Stadt patrouilliert. Eine arabische Frau am Straßenrand hält die Soldaten für Landsleute und feuert sie an, worauf sie einer der Soldaten buchstäblich „im Vorbeigehen“ erschießt. Das ist der stärkste Moment des Films, ein großer „Gag“, bei dem einem allerdings das Lachen im Hals stecken bleibt. Später im Film folgt eine Szene, in der ein telefonierender Palästinenser nicht bemerkt, dass er nur wenige Meter vor einem Panzer auf und ab geht. Der Panzer folgt jeder seiner Bewegungen mit seinem Turm – quasi um ihn im Visier zu behalten – Suleimans Alter Ego E.S. (ein palästinensischer Monsieur Hulot) verfolgt das Geschehen hinter der nächsten Straßenecke. In einer anderen Szene gleich im Anschluss wird eine Straßenschlacht zwischen palästinensischen Demonstranten und israelischen Truppen durch eine Frau mit Kinderwagen unterbrochen. Auf die Aufforderung des israelischen Kommandanten heimzugehen erwidert sie: „Geht ihr doch heim!“

In den beiden letzteren Fällen ist das Tondesign essentiell für die Entwicklung der Pointe. Das Surren der Hydraulik des Panzers ist auf der Tonspur isoliert und übertönt den Umgebungslärm, und trotzdem scheint der telefonierende Mann den Panzer nicht zu bemerken. Wie in einem Film von Jacques Tati (auf Parallelen zu Tati werde ich noch genauer eingehen) suggerieren diese Toneffekte ein Eigenleben eines unbelebten Objekts. Im Falle der Straßenschlacht, die E.S. von seiner Wohnung aus beobachtet, wird er erst auf die Situation aufmerksam, als der Kampflärm durch das Auftauchen der Frau abebbt. Nicht die Straßenschlacht ist also das besondere Ereignis, dem man im besetzten Palästina seine Aufmerksam widmet, sondern die Stille, das Ausbleiben von Aufruhr. Die Mutter mittlerweile gealtert an der Seite von E.S.

Warum funktionieren aber nun diese einzelnen Szenen besser als das filmische Gesamtkonstrukt? Um diese Frage zu beantworten hole ich etwas weiter aus: Michel Chion bezeichnete Jacques Tati einmal als „Weltenerschaffer“. Im Gegensatz zu Chaplins Tramp, dem seine Missgeschicke in einer Welt widerfahren, die der unseren gleicht, spielen sich die Geschehnisse rund um Tatis Monsieur Hulot und seine anderen Figuren in einer absurden, beinahe abstrakten Welt ab, in der die Relation von normalen zu abstrusen Vorkommnissen verschoben ist. Bezeichnend also, dass Tatis gigantisches Set für sein magnum opus Playtime „Tativille“ getauft wurde („Tativerse“ wäre vielleicht sogar treffender gewesen). In Playtime wird die konstruierte Natur des Tati’schen Universum am deutlichsten, aber auch in seinen früheren Filmen finden sich Autoreifen, Farbkübel, Einbauküchen oder Schwingtüren, die sich anders verhalten, als wir es gewohnt sind. Deshalb fehlen in Tatis Filmen auch die großen Lacher. Gags werden anti-klimaktisch inszeniert, denn die wahre Pointe liegt in der Komik der Welt und des Verhaltens seiner Bewohner.

In den frühen Filmen von Suleiman verhält sich Palästina ähnlich wie das „Tativerse“. Wie das Frankreich Tatis ist das Palästina Suleimans bloß eine Analogie zur Entsprechung dieses Ortes in der Realwelt. Der rote Arafat-Luftballon in Divine Intervention ist hier genauso stimmig wie der Autoreifen in Les Vacances de M. Hulot. Anders verhält es sich in The Time That Remains: Gerade weil Suleiman den Bezug auf die realen historischen Ereignisse herstellt und seinen Film im „echten“ Palästina spielen lässt, nimmt er seinem eigenen Film den Wind aus den Segeln. Die Absurdität seiner konstruierten Welt, in Kombination mit ausgedehnten Tableaus und dem Deadpan-Gehabe seines Hauptcharakters werden durch den verstärkten Einsatz von Dialogen und Schnitten entkräftet. Suleimans künstliches Palästina wird durch ein „reales“ Palästina ersetzt, und seine Filme dadurch insoweit „gewöhnlich“, als sie nur mehr bedingt als Allegorie taugen. Nur in den paar Szenen, von denen ich einige weiter oben angeführt habe, bricht die absurde Seite des „absurden“ Palästinas wieder hervor – deshalb sind diese Szenen die effektivsten des Films. Suleimans Alter Ego E.S.

Dass Suleiman dennoch auf diese konventionelle Form (im weitesten Sinne) zurückgreift liegt an der spezifischen Fragestellung, die er seinem Film zugrunde legt: „Was ist das für ein Ort? Wie komme ich wieder nach Hause? Wo bin ich?“ Diese Fragen stehen programmatisch für Suleimans politische Agenda. In The Time That Remains versucht Suleimans erstmals vorsichtig so etwas wie eine Antwort auf diese Fragen zu geben, mit denen er sich schon sein gesamtes Künstlerleben über beschäftigt. Wie eingangs angedeutet, leitet er seinen Heimatbegriff historisch her. Genauer, präsentiert er seinen Vater als Vorgänger im Kampf für ein freies Palästina und zeigt, in welcher Weise er mit diesem Freiheitskampf familiär verbunden ist. Aus diesem Grund braucht es eine gewisse Kontinuität und Chronologie, auch wenn sie seinem filmischen Stil gänzlich widerspricht. Kritik ist also entweder an der Wahl des Stoffes oder am Festhalten an den Resten seines persönlichen Stils angebracht. In beiden Fällen müsste man akzeptieren, dass dem Film eine Fehlkalkulation zugrunde liegt.

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  85. I will tools this review in direction of 2 types of us residents: present Zune home owners who are thinking of an update, and folks making an attempt in direction of come to a decision concerning a Zune and an iPod. (There are other gamers relevance considering out there, which includes the Sony Walkman X, but I anticipate this provides on your own enough information in the direction of crank out an mindful choice of the Zune vs avid gamers other than the iPod line as perfectly.)

  86. The fresh new Zune browser is shockingly superior, yet not as Great as the iPod’s. It operates very well, however is not as instantaneous as Safari, and has a clunkier interface. If by yourself often program on working with the internet browser that is not an issue, however if you are designing toward read the website alot in opposition to your PMP then the iPod’s bigger screen and far better browser could be crucial.

  87. I?аАТ’аЂа†ll right away snatch your rss feed as I can at find your email subscription link or e-newsletter service. Do you ave any? Please allow me recognize so that I may just subscribe. Thanks.

  88. Sorry for the huge evaluation, nonetheless I’m actually loving the clean Zune, and count on this, as effectively as the perfect reviews some other us residents consist of composed, will guidance oneself choose if it is really the right choice for your self.

  89. magnificent post, very informative. I wonder why the other experts of this sector do not realize this. You must continue your writing. I’m sure, you’ve a huge readers‘ base already!

  90. Involving me and my partner we’ve owned further more MP3 avid gamers above the years than I can depend, which include Sansas, iRivers, iPods (classic & touch), the Ibiza Rhapsody, and so on. But, the closing handful of yrs I have solved down toward one particular line of players. Why? Since I was happy in direction of check out how well-designed and exciting to employ the underappreciated (and commonly mocked) Zunes are.

  91. The new Zune browser is remarkably favourable, however not as beneficial as the iPod’s. It is effective nicely, still isn’t as fast as Safari, and consists of a clunkier interface. If your self occasionally program upon using the net browser that’s not an issue, however if you happen to be building toward read through the world-wide-web alot in opposition to your PMP then the iPod’s greater display and improved browser may well be substantial.

  92. I’ll devices this review in direction of 2 versions of Those people: present Zune property owners who are taking into consideration an update, and people trying to choose in between a Zune and an iPod. (There are other gamers really worth considering out there, which include the Sony Walkman X, however I assume this provides oneself adequate facts in the direction of deliver an aware alternative of the Zune vs avid gamers other than the iPod line as nicely.)

  93. tee

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  94. The Zune concentrates on staying a Transportable Media Player. Not a world-wide-web browser. Not a match machine. Quite possibly within the future it will do even far better inside of individuals areas, yet for now it is a exceptional way towards set up and listen to your music and films, and is with out peer in that regard. The iPod’s advantages are its world wide web visiting and apps. If those people good further powerful, maybe it is your ideal conclusion.

  95. I loved as much as you’ll receive carried out right here. The sketch is tasteful, your authored material stylish. nonetheless, you command get got an edginess over that you wish be delivering the following. unwell unquestionably come more formerly again as exactly the same nearly a lot often inside case you shield this hike.

  96. The Zune concentrates on currently being a Moveable Media Player. Not a web browser. Not a activity machine. Possibly inside of the foreseeable future it’ll do even far better within those people areas, still for by now it’s a Terrific path to organize and hear towards your audio and movies, and is with no peer within that regard. The iPod’s advantages are its internet traveling to and apps. If all those strong even further persuasive, potentially it is your most straightforward selection.

  97. I just could not depart your web site before suggesting that I extremely enjoyed the standard info a person supply to your guests? Is gonna be again ceaselessly to check up on new posts.

  98. Pretty nice post. I just stumbled upon your blog and wished to say that I’ve truly enjoyed surfing around your blog posts. In any case I will be subscribing to your rss feed and I hope you write again very soon!

  99. I will products this critique towards Two designs of americans: current Zune house owners who are contemplating an enhance, and people hoping in direction of make your mind up among a Zune and an iPod. (There are other players significance considering out there, like the Sony Walkman X, however I anticipate this gives your self enough facts toward generate an aware selection of the Zune vs gamers other than the iPod line as properly.)

  100. Good info and straight to the point. I don’t know if this is in fact the best place to ask but do you folks have any thoughts on where to hire some professional writers? Thanks in advance 🙂

  101. Zune and iPod: Utmost people compare the Zune in direction of the Contact, yet right after viewing how slender and surprisingly small and gentle it is, I test it in the direction of be a pretty exclusive hybrid that brings together properties of both equally the Touch and the Nano. It can be rather colorful and beautiful OLED display is marginally scaled-down than the contact screen, however the player by itself feels rather a little bit smaller sized and lighter. It weighs over 2/3 as much, and is noticeably smaller in just width and height, although currently being exactly a hair thicker.

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