the title card for Part II drops, then cuts to a shot in the middle of a road. suddenly the camera starts moving, freed of the reigns it was stuck in for the entirety of Part I as the film transitions from domestic Palestinian vignettes to more explicitly political and ideological ones. its a transition that's seamless yet startling at the same time, if that makes any sense. all of this to say I was immediately reminded of bi gan's long day's journey into night and its legendary title card drop... gorgeous. i think elia suleiman may become one of my favorite directors. an insane feature debut