"The Syrian Bride" uses the familiar comic genre of the colliding tensions in an extended family wedding to humanistically illuminate Middle East political, gender, generational, religious, modernization and economic tensions coming down to human relationships vs. bureaucracies.
Co-writers Suha Arraf (a Palestinian journalist) and Israeli director Eran Riklis pile almost too much on to this one Druze (Israeli Arab) family living in the occupied Golan Heights in order to make the personal political. The tensions, poignancy and symbolism of a wedding are heightened because when this bride leaves her home for her arranged marriage with a Syrian celebrity, she will not be able to return home.
Every complicated character has a complicated background, whether theirs or their parents' politics or their religiosity or their dress or their educational or romantic aspirations-- and is in a complicated relation to every other character and the authorities.
In addition to the return of prodigal sons from overseas, the larger community intrudes on the intra-family tensions, from robed tribal elders and the police who each bring warnings of proper behavior to a comical videographer. My dependency on English subtitles lessened some of the impact of hearing characters switch from Arabic to Hebrew to French to Russian to English to communicate, as part of the interactions are based on who can understand different languages and who can't. This complex in-gathering all symbolically happens the same day as a demonstration in support of the change over of power in Syria from the father the dictator to the son, while a flat tire leads to a crucial delay. The ubiquitous television, and government attention, however, is focused on the West Bank, making this border a forgotten zone as well as a no (wo)man's land.
What makes it all hang together amidst this human comedy is the central focus from the start to the finish on the almost silent bride, dressed in Western white, and her more verbal older sister, rebelliously in slacks, and both played by powerful actresses. Each has made choices in the past they regret and each chooses their future now, despite the efforts of all their male relatives, let alone global politics, to thwart them and make them helpless.
Even with the heavy-handed baggage of all the "Crash"-like coincidences, the film beautifully makes the point that politics isn't just ideology but affects how people get on with the basics of their lives.
Co-writers Suha Arraf (a Palestinian journalist) and Israeli director Eran Riklis pile almost too much on to this one Druze (Israeli Arab) family living in the occupied Golan Heights in order to make the personal political. The tensions, poignancy and symbolism of a wedding are heightened because when this bride leaves her home for her arranged marriage with a Syrian celebrity, she will not be able to return home.
Every complicated character has a complicated background, whether theirs or their parents' politics or their religiosity or their dress or their educational or romantic aspirations-- and is in a complicated relation to every other character and the authorities.
In addition to the return of prodigal sons from overseas, the larger community intrudes on the intra-family tensions, from robed tribal elders and the police who each bring warnings of proper behavior to a comical videographer. My dependency on English subtitles lessened some of the impact of hearing characters switch from Arabic to Hebrew to French to Russian to English to communicate, as part of the interactions are based on who can understand different languages and who can't. This complex in-gathering all symbolically happens the same day as a demonstration in support of the change over of power in Syria from the father the dictator to the son, while a flat tire leads to a crucial delay. The ubiquitous television, and government attention, however, is focused on the West Bank, making this border a forgotten zone as well as a no (wo)man's land.
What makes it all hang together amidst this human comedy is the central focus from the start to the finish on the almost silent bride, dressed in Western white, and her more verbal older sister, rebelliously in slacks, and both played by powerful actresses. Each has made choices in the past they regret and each chooses their future now, despite the efforts of all their male relatives, let alone global politics, to thwart them and make them helpless.
Even with the heavy-handed baggage of all the "Crash"-like coincidences, the film beautifully makes the point that politics isn't just ideology but affects how people get on with the basics of their lives.