“Let It Be Morning” begins with a vision of prison bars, which turn out to be the metal on a cage holding wedding doves. Although the first scene is indeed set during nuptial celebrations, it’s an undeniably ominous omen when the door is opened and the birds refuse to fly.
There are, in fact, bars everywhere in Eran Kolirin’s Palestinian drama, though few others are as visible (or unsubtle). His protagonist, Sami (Alex Bakri), is confined by his marriage, his family, his town. Some of these imprisonments, like his unhappy relationship with his sharply intelligent wife (an excellent Juna Suleiman), are at least partially of his own making. Others, like a stubbornly closed checkport to Jerusalem, are not.
Sami’s instinct to escape immediately after his brother’s village wedding is, he insists, purely practical: he’s got to get back to work in the city before he gets fired.
There are, in fact, bars everywhere in Eran Kolirin’s Palestinian drama, though few others are as visible (or unsubtle). His protagonist, Sami (Alex Bakri), is confined by his marriage, his family, his town. Some of these imprisonments, like his unhappy relationship with his sharply intelligent wife (an excellent Juna Suleiman), are at least partially of his own making. Others, like a stubbornly closed checkport to Jerusalem, are not.
Sami’s instinct to escape immediately after his brother’s village wedding is, he insists, purely practical: he’s got to get back to work in the city before he gets fired.
- 2/3/2023
- by Elizabeth Weitzman
- The Wrap
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