Hany Abu-Assad's PARADISE NOW is a film I intentionally put of reviewing for some time, even after multiple viewings, because of my own feeling that I would not be able to do the text justice until I got to the point I am at now, having taken in a selection of both Palestinian and Israeli cinemas both released before and after this film was nominated for an Oscar. In general, I feel a bit more confident in labeling this film as first and foremost a very black comedy akin to Altman's MASH. Consider the two images below.
There is a substantial thread throughout the film dealing with intertextuality vis-a-vis the genre of Palestinian death videos. First, the two characters go through a very comedic sequence where their proud, dramatic suicide message videos are delayed by a faulty camcorder. Later on, when getting a watch repaired, the other end, the distribution side, is examined. The watchmaker rents or sells videos of both collaborators and suicide bombers giving testimony before death.
Abu-Assad's OMAR, as I mentioned when I wrote my essay on that film, is very close in style and pacing to Hitchcock, but in his more mature phase when he made PSYCHO. Here I am more reminded of STRANGERS ON A TRAIN, especially the comedic sexual dynamics underlying the relationship between the antagonist and protagonist.