Formalistically ascribes the visual comedy reminiscent of Tati, Elia Suleiman's It Must Be Heaven is a cunning portrait of a globally-connected world, one which simultaneously embraces and subverts cultural stereotypes in an attempt to express and normalize our shared humanity which supersedes such differences. The director himself is the principal character and the de factor vessel across this exploration; A Palestinian man, the film provokes an evocation of identity and diaspora related to home which doesn't always work, yet it features a host of enticing visual comedy constructions which titillate regardless if they don't always achieve the director's introspective ambitions. The urban spaces of New York and Paris in particular are viewed through a foreign lens, which in itself offers some juicy comedic moments, but the film's more intellectual aims don't entirely work due to much of its quasi-vignette formal structure feeling a bit too facile to elicit the film's intended intellectual aims. It's almost as if Suleiman himself realizes this, as the film becomes less nuanced and more didactic in its philosophical underpinnings in its last few scenes of the film.
Love of all things cinema brought me here.