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The homes look at once lived-in and sterile, uncluttered and full of potential. Camera (color, HD), Elad Debi; editor, Véronique Lange; music, Habib Shehadeh Hanna; production designer, Rabia Safiti; costume designer, Hamada Atallah; sound, Michael Goorevich; re-recording mixer, Goorevich; line producer, Laura Hawa; assistant director, Ehab Bahouth; casting, Amer Hlehel.
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Meanwhile, Samar’s husband, George (Amer Hlehel), a mechanic, finds himself cast in an American movie after visiting filmmakers turn up at his garage.
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The dissatisfactions of three generations of an extended Palestinian family serve as the basis for a mild, occasionally trenchant narrative debut feature from Maha Haj, who has worked as a set designer for the Palestinian filmmaker Elia Suleiman (“The Time That Remains”), among others, and shares her mentor’s taste for droll set pieces and gentle absurdity.
This sort of slow-burning, deadpan dramedy has grown ubiquitous on the festival circuit, where “Personal Affairs” seems likely to find most of its business.
“What matters is that the movie is politically clean,” one of them tells him.
“You must read the whole script.” George himself has mixed feelings.
But the movie has isolated moments that hint at Haj as a director capable of making something less slight.