Paradise Now: Humanizing the Demon – Julie Reich

In the film Paradise Now, two Palestinian best friends, Said and Khaled are recruited as martyrs by an extremist group to perpetrate a terrorist faction in Tel-Aviv. In one scene, Said and Khaled gathered with some of the lead members of their organization to prepare for the mission and to film their bid-farewell speech for a martyr video. Initially, Khaled performed his entire speech as Jamal (their recruiter), another faction member and Said watched in the background. Once completed, the cameraman announced that the camera had not been recording; Khaled would have to repeat his speech. Shortly after filming resumed, the cameraman interrupted Khaled again to reveal technical difficulties had not been resolved, causing Khaled to express significant frustration.

In my opinion, the interruption represents disregard or insensitivity toward the value of what is held personally significant to one individual. Therefore it is symbolically relevant in the film in terms of reducing human struggle to the banal (Khaleds situation within his context is treated as banal, which subtly offends him).

Once the camera was functioning they proceeded for a third attempt. While filming, Jamal and the faction member to his left began to eat, unlike Said who remained an attentive spectator. After observing this behaviour, Khaled neglected his script entirely and proceeded by advising his mother about a sale on water filters. Essentially, Khaled’s choice to disregard something personally significant and replace it with a benign, ‘everyday’ reminder not only projects neglect or disrespect he may have experienced, but signifies a trivializing of the implications, meaning and worth of what his speech represented. Therefore, manifestation of the banal or indifference toward difficult human issues caters to ‘demonizing the human’. Specifically, ‘demonizing the human’ reduces human complexity, it disregards the context by which actions are bound and omits regard toward the circumstances surrounding a particular course of action. Ultimately, ‘demonizing the human’ is problematic since it provides justification for the act of demonizing (from the ‘disapproving’ group) and a scapegoat for reverse discrimination.

In addition, it can be interpreted that Jamal’s disregard for Khaled’s speech trivializes its meaning (a confession for intended suicide and murder as well as a personal bid-farewell), reduces the value of Khaled’s extreme commitment to the cause and to his faith, and also, it renders the consequences as well as the cause to a benign normalcy. As a result, Jamal signifies the banal, demonizing and the trivializing of human struggle. Ultimately, the repercussion of reducing Khaled’s sense of self-worth foreshadows his doubt, skepticism and hesitation.

In addition, presenting a situation to the viewer whereby martyrdom is the norm (or presenting situations in general to an audience that alludes to underlying themes involving complex religious and/or political issues), provides an opportunity to empathize with different perspectives or situations (despite any disparate or opposing cultural, social or religious values, opinions or beliefs regarding the content or subject matter being presented). Moreover, an occasion to generate dialogue about the issue provides an opportunity re-assess and re-humanize the ‘demon’, the ‘other’. Ultimately, in the face of (extreme) complicated political and religious issues, the banal treatment of human complexity may not only provide an opportunity to identify with another perspective, but also, it may instigate an occasion to empathize with a universally human dilemma regarding the quest for a fulfilling life, any obstacles that must be overcome and the external and internal factors involved, including the potential consequences of the existence or non-existence of God. Essentially, an existential sentiment interwoven throughout the film and into the attitudes of the protagonists may also allow the viewer to identify with opposing or disparate perspectives. In addition, since complexity of (extreme) political and religious issues is portrayed in a manner that evokes humanity rather than exploits it, the existential element integrated into the film also serves as a means to reassert the importance of human individuality and freedom (a perspective within existential deliberation). Ultimately,after having considered factors related to re-humanizing the ‘demon’, one of the possible interpretations of the title Paradise Now, may in fact refer to an existential tension resulting from a search for meaning in the face of the banal.*** This article is not intended to support any particular religious or political position nor is it intended to support the views of any particular religious or political group. It is a commentary on this film’s ability to ‘humanize the demon’, to demonstrate a different perspective while simultaneously preserving an intrinsic human search for meaning, struggle, and choice.

Ultimately, critique of this academy award nominated film identifies its ability to point out themes that are universally relevant, and therefore even though I may not support the religious and political views regarding the content of the film, I support the ability of this film to create a discussion concerning a platform for peace, to show that all humans struggle. In this way, humans are all equal despite our views, beliefs and behaviours (it is the human existential search for meaning that we all share). Therefore, this is intended to be a commentary about intrinsic human equality despite drastic and disparate social, cultural and religious difference, and as well, it is intended to provide an opportunity for discourse in a respectful, intelligent and objective manner.