A scattered Palestinian crime farm

Directed by the Twin duo of Tarzan and the Arabic Nasser, it is a time in Gaza about a different kind: a small drug program, which was compiled by Yahya (Nader Abd Alhay) and the Burlige restaurant owner Osama (Majd Eid). Although in 2007 the well -meaning, cheeky drama has a preference for combining its surroundings with the contemporary political zeitgeist, which it loud and openly loudly. However, the self -reflexive, polled story about the use of cinematic images to create a revolution ends ironically limp.

In the first half of the film, which were captured with careful compositional intentions, he sees Osama, the brains of the operation, and sends Yahya to acquire painkillers with forged recipes that they want to sell by hiding them in Pita-Sandwiches from Osama's hole-in-the-wall falafel joint. While this conspiracy unfolds, it will be the mild and humorous tension of the duo's disagreements – which the weters allow to play to absurdity – and by the corrupt police officer on her cocks Abou Sami (Ramzi Maqdisi). In the meantime, the headlines and stories on television tell growing tensions on how Israel recently declared the Gaza Strip as a “enemy territory” and plans to literally stand out.

The impending presence of this political ghost is rarely connected to the ongoing rigamarole, except that the Israeli authority in the minor instance of Yahya is prevented from traveling to West Bank to see his mother. On the one hand, it is impossible to tell a story about modern Gaza without the displacement parameters somehow have its existence. On the other hand, this rarely has an impact on the greater events of the film. The moral dilemma of Osama, as Abou Sami offers him freedom in exchange for a cut, suddenly feels interrupted by every injection of the wide world instead of being interwoven.

Admittedly, there is a small Farcical strip that offers the film a little escape key. It begins with the latest audio clips by US President Donald Trump, who claims to turn Gaza into a private Riviera, together with the recent clips of the Gaza buildings that are directed to the ground. In fact, this even frames the non -related, apolitical events of the film as delivered by this dangerous future, which are supported by western powers. In view of their fast and unbound appearance, however, none of the news is ever really like a premonition that is ironic.

There is also a larger farce in the game, although it takes a while to get there. The opening images of the film have a produced production with a low budget entitled “The Rebel”, which was made as the first action film in Gaza. At first it plays like a joke, but it comes back in the second half of the film, which turns almost exclusively on the actual making of this film – about a heroic armed resistance – in which Yahya is involved in just coincidence.

This apparent act of the healer of fate is the title and pictures of the film inspired by Hollywood. Up to this point, a number of scenes of large Hollywood influences feel inspired, from “Pulp Fiction” watchdog to music, which reflects Nino Rotas score for “The Godfather”, which reflects the opening of “Apocalypse Now”. These are not references for the purchase of reference, but an apparent attempt to expect the dueling influence of American culture and American politics, the former help to build up their pictures and identities to the filmmakers of Gaza, and the latter financing weapon that destroyed them.

The focus seems to be moving to the creation of revolutionaries as a cinematic idea, but soon it will reject all these meta-textual flourishing in favor of a final act that is even more fateful facts that go wrong. It is one thing to use a story to get a story, but unless nihilism is the point and the purpose of – à la coen Brothers' “a serious man” – a coincidence to end a story, be incredibly unsatisfactory. In conjunction with the refusal of the film, the wishes of his characters after revenge (if things become particularly violent), “once in the Gaza” more facsimiles are made more facsimiles than a homage or self -reflection and a distant observation as strict, monotonous investigations into life in life in life.