An intricate tale, which skims …

The subject matter alone on the surface would seem justification for the controversy caused when this Palestinian set film about would-be suicide bombers was nominated for an Oscar earlier this year. However, when the categorization of the origin of the film was announced as being from the 'Palestinian territories', many onlookers (from both sides) were dismayed. Whereas the political wrangling can be understood to a certain extent, the outcry over the film itself is horribly misplaced. Paradise Now is quite simply one of the most important films made in the last decade.

Set in the familiar slums of Nablas in the West Bank, two childhood friends (Khaled and Said) have a meager existence. They work as mechanics but have something else planned. They volunteer for a terrorist attack to be committed in Tel Aviv, and go through the rituals of such an atrocity. They are prepared by a well-organized terror cell and soon find themselves at the border-crossing ready to attack. However, something goes wrong, and the pair is left to their own devices to get back, whilst being strapped with several pounds of high explosives. With mass confusion, the pair has to decide whether to go on with the mission, or abort it and return to their families.

Many documentaries have looked at the plight of the Palestinian people and many more frequent news reports have featured the resultant attacks in Israel, but this film whilst featuring both, isn't about either. It's about two young men who are driven to extremes by various factors. One in particular (Said) is so detached that his motives remain unclear almost until the end (of the film).

As this sort of character study, the film is gripping and evocative. It works wonderfully, and captures the daily life of many Palestinians in intricate detail. For a film of such large moral and religious importance it is a pleasure to see some suitably dark humor involved, be sure though that it is always followed by a feeling of uneasy guilt. The film aims for and in many ways achieves a sense of balance by including a strong female voice, which is wholeheartedly opposed to the idea of suicide attacks. The character (Suha) dominates the central portion of the film, and it's here that the problems begin to creep in.

The film is in some ways, tries too hard in finding balance. It tries to say that for every action you will encounter and equally compelling counteraction. But if this were true, then nothing would ever happen, and surely one side or the other will win out in the argument (be it one you personally agree with or not). Many have argued about 'the Israeli' point of view being ignored, but just as last week's cinema release 'United 93' this film is not about that. It is deliberately not placing in context the various attacks on either side. If a film were to act on that remit, then it would have to take in all the historical facts and represent them equally; no film has ever done that!

The two central performances are what drive this film, and make it into the ultimate success that it is. Both face personal fears, and come out at the other end with very different conclusions. Bravery and cowardice are the motifs put into context, not political baggage.

Minor quibbles aside, this is essential if not entertaining viewing.