![]() Ultimately, the concept of the homeland shrinks from the suffocating city to the house of his childhood, which even though is the site of memory is reduced to a dark living room contained between rigid frames. ![]() His films rewrite the lost memories, even though the physical place is continually shrinking. The city itself closes in on him, and it is the contested place with the contested memory. Even his representation of space outside his city is just as stifling, whether at the checkpoints or in shared public transport. The representation of space is often charged, as people have to live within its false confinement created by its political geography. Memory in Suleiman’s film is haunting and paralyzing, welcome and unwelcome. Through his depiction of the city, memories of a lost culture emerge. In his films, the city, presented as a social ghetto, suffocates. Doggedly haunting Suleiman’s films, Nazareth is at once a site of memory and the lost homeland. Nazareth is the hometown and the city that is featured in Palestinian director Elia Suleiman’s film trilogy, Chronicle of a Disappearance, Divine Intervention and The Time that Remains. ![]() He adds that its residents have developed a paradoxical relationship in relation to this ancient city, at once fanatically proud of it and hating it. In his article on Nazareth, Samir Srouji contends that the city has all the makings of an architectural and social ghetto.
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