Elia Suleiman is a prominent Palestinian filmmaker known for his unique cinematic language that blends humor, absurdism, and sharp political commentary.
The evolution of Suleiman’s visual storytelling is examined through a comparison of his first feature film, Chronicle of a Disappearance (1996), and his most recent work, It Must Be Heaven (2019).
This paper compares the cinematography of Elia Suleiman’s first and most recent feature films: *Chronicle of a Disappearance* (1996) and *It Must Be Heaven* (2019). The analysis explores how Suleiman’s cinematic language evolved over time, influenced by the socio-political contexts in which the films were made.
By examining these two films, we aim to understand the changes in Suleiman’s visual storytelling, considering both his artistic techniques and their reflections on the political landscape of Palestine. The paper delves into how these cinematic shifts mirror broader historical and political changes in the region.
*Chronicle of a Disappearance* (1996) is characterized by a minimalist approach, utilizing static shots and minimal camera movement to create a contemplative atmosphere. This restrained visual language enhances the introspective quality of the film, allowing moments of silence and stillness to dominate the narrative.
By contrast, *It Must Be Heaven* (2019) introduces a more dynamic visual style, incorporating active camera movements and contrasting colors. This evolution reflects Suleiman's growing confidence in his ability to capture a broader range of human experiences and emotions, marking a shift from stillness to a more vibrant, energetic cinematic expression.
The slow, deliberate pace of *Chronicle of a Disappearance* and its use of static visuals evoke a sense of stillness, allowing the audience to reflect on the quiet moments within the film. The long takes in the earlier film enhance the contemplative nature, while *It Must Be Heaven* contrasts this with faster-paced sequences and more dynamic camera movements that bring greater emotional intensity to the story.
This shift from stillness to movement mirrors the emotional evolution in the films, as the more dynamic elements in *It Must Be Heaven* give the film a more lively and engaging rhythm. The contrast between static and dynamic elements showcases Suleiman’s increasing mastery over the pacing of his films.
In *Chronicle of a Disappearance*, the use of empty spaces and quiet scenes emphasizes a sense of isolation and solitude, with absence becoming an integral part of the visual narrative. This emptiness enhances the reflective and melancholic tone of the film, focusing on the introspective moments of the characters.
In *It Must Be Heaven*, Suleiman adopts a contrasting approach, filling the frames with more characters and visual elements. This shift in visual composition signifies a move toward a fuller, more vibrant representation of life, highlighting the integration of characters with their surroundings and enriching the narrative with a more active visual presence.
Suleiman’s framing choices in *Chronicle of a Disappearance* often feature high-angle shots, creating a sense of detachment or distance from the characters. This visual approach serves to emphasize the characters’ isolation and their disconnect from the world around them.
By contrast, *It Must Be Heaven* uses more low-angle shots, which empower the characters and bring them into focus. This evolution in perspective reflects a shift in the emotional and narrative dynamics of the films, with the characters becoming more prominent and asserting their presence within the visual space.
The evolution of Elia Suleiman’s cinematography demonstrates a refined mastery of visual storytelling. From the stillness and simplicity of *Chronicle of a Disappearance* to the dynamic energy of *It Must Be Heaven*, Suleiman has grown as a filmmaker, using increasingly complex visual techniques to tell his stories.
Through his evolving cinematic style, Suleiman continues to explore themes of identity and self-expression while maintaining a distinctive visual language that resonates with diverse audiences. His films reflect both the personal and collective human experience, offering a powerful exploration of universal themes.