Bani Abidi on Elia Suleiman
uring the opening credits of Elia Suleiman’s 2002 film , a middle-aged Arab man drives down a street in Nazareth. Along the way, he passes relatives and neighbors who wave to him as he smiles and waves back, a cigarette dangling from his lips. The soundtrack softens and you hear him mumbling something under his breath. He is cussing at each and every one of them, while gesturing back warmly,
