Chronicles of Riddick

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Previous - Chronicle of a Disappearance - With a strong sense of irony and a deadpan visual style (Janet Maslin, The New York Times), Chronicle of a Disappearance unfolds in a series of seemingly unconnected cinematic tableaux, each of them focused on incidents or characters which seldom reappear later in the film. Among the many unrelated scenes, there is a Palestinian actress struggling to find an apartment in West Jerusalem, the owner of the Holy Land souvenir shop preparing merchandise for incoming Japanese tourists, a group of old women gossiping about their relatives, and an Israeli police van which screeches to a halt so several heavily armed soldiers can get off the car and urinate.Defined by writer/producer/director Elia Suleiman (Divine Intervention) as a search for what it means to be Palestinian, this beautiful and understated film is a triumph of succinct images and adroit structure (Kevin Thomas, The Los Angeles Times). Split in two parts, Nazareth Personal Diary and Jerusalem Political Diary, Chronicle features outstanding performances by a cast of non-professional actors and combines a sarcastic sense of humor with moments of silent contemplation; it speaks of the absurdity and complexity of a people without a land.But if the project of a Palestinian state remains stalled by a series of historical and political complications, Palestinian cinema has been, conversely, celebrated for several major contributions to world cinema. And while Chronicle of a Disappearance was shot in various locations across the Middle-East, it succeeds in evoking several fundamental issues concerning the post-1948 Palestinian struggle for a recognizable national identity.