Paradise Now tells the story of two suicide bombers Said and Khaled. Yes, the movie humanizes the terrorists but it does not condone the act of terrorism.
Does it answer the question of why suicide bombers do what they do? We learn that it was mild-mannered sombre-faced Said who had convinced Khaled, concluding that living in occupied land, they were as good as dead anyway. Khaled seemed to be playing at being a terrorist, and this came across most strongly as he was taping his farewell message. Said, however, has another, more personal reason, redemption. Though that too, is rooted in the Israeli-Palestinian conflict.
Suha, with whom Said shares a budding mutual attraction, offers a moderate alternative, arguing that the suicide bombings only give the Israelis a reason to strike back. Khaled responds that there is no guarantee that the Israelis will stop if the bombings cease, but he is eventually persuaded by Suha and tries, in vain, to stop Said from his mission.
Director and co-scriptwriter Hany Abu-Assad has presented both sides of the argument for and against terrorism and leaves us with two characters who choose opposing paths. He also finds moments of humour and absurdity, which all wars generate. Still, the movie is firmly rooted in a Palestinian point of view, and the gleaming images of Tel Aviv at the end present a stark contrast to how and where the Palestinians live their lives.
The final image we are left with is Said’s eyes - haunted and haunting, as he sits in a crowded bus full of Israelis.
Would Said’s suicide bombing radicalise Khaled? Would Khaled remain convinced that there were non-violent means with which to achieve freedom?
There are no easy answers. But without an attempt to break the cycle, the circle of violence can only continue.