Latest – Page 3 1a5q5k

  • 'Becoming' 2021 film
    Reviews

    ‘Becoming’: Cairo/Red Sea Review 5l483f

    2021-12-06T13:30:00Z 3y1910

    All-female anthology takes a sparky driver’s seat approach to life in the Kingdom of Saudi Arabia

  • The Stranger
    Reviews

    ‘The Stranger’: Cairo Review j2o3j

    2021-12-03T13:45:00Z

    Palestine’s submission to the international Oscar category is set in the disputed Golan Heights 

  • AAR_Rebuilding_Still
    Reviews

    ‘After A Revolution’: IDFA Review 262w5o

    2021-11-25T16:16:00Z

    Two siblings on opposing sides of the Libyan civil war cope with its aftermath in different ways

  • Film still 5 - Taamaden
    Reviews

    ‘Taamaden’: IDFA Review 3p4t1e

    2021-11-21T19:40:00Z

    Seydou Cisse’s economic migrants take a dangerous route from Mali to Valencia

  • When Pomegranates Howl
    Reviews

    ‘When Pomengranates Howl’: Tallinn Review 1x1k27

    2021-11-18T17:00:00Z

    A nine-year-old boy dreams of stardom in this heartfelt Afghan drama

  • The Alleys
    Reviews

    ‘The Alleys’: London Review 3w1s3k

    2021-10-12T15:33:00Z

    Bassel Ghandour’s debut juggles tones and storylines for a labyrinthine portrait of a Jordanian neighbourhood

  • 'The Absent Director'
    Reviews

    ‘The Absent Director’: Busan Review 135hn

    2021-10-08T02:55:00Z

    An audacious single-shot drama that follows an Iranian theater company staging an experimental ‘Macbeth’

  • 'Asteroid'
    Reviews

    ‘Asteroid’: Busan Review 1n2u5k

    2021-10-07T12:17:00Z

    Mehdi Hoseinivand Aalipour’s affectionate first film observes the tender bonds of one Iranian family

  • 'Costa Brava Lebanon'
    Reviews

    ‘Costa Brava, Lebanon’: Venice Review 5c5g1i

    2021-09-16T08:33:00Z

    A terrific debut from Mounia Akl set in a Lebanese mountain idyll – until the landfill arrives next door

  • Mlungu Wam (Good Madam) Mlungu Wam
    Reviews

    ‘Good Madam’: Toronto Review 304v68

    2021-09-13T11:05:00Z

    Jenna Cato Bass examines the horror of servitude in South Africa’s affluent gated communities

  • Huda's Salon
    Reviews

    ‘Huda’s Salon’: Toronto Review b725p

    2021-09-09T17:00:00Z

    Hany Abu-Assad sets the stage for his political thriller in a Bethelem beauty parlour

  • you resemble me (1)
    Reviews

    ‘You Resemble Me’: Venice Review l10n

    2021-09-08T14:15:00Z

    Spike Lee and Jonze produce this debut, hybrid feature about the the French radical Islamist Hasna Ait Boulahcen

  • Republic Of Silence
    Reviews

    ‘Republic Of Silence’: Venice Review 192b4f

    2021-09-07T11:45:00Z

    A vivid, emotionally-charged insider view of conflict and displacement from Syria’s Diana El Jeiroudi

  • Amira
    Reviews

    ‘Amira’: Venice Review 581r44

    2021-09-05T13:33:00Z

    Mohamed Diab’s film interrogates the status of a Palestinian teenager whose identity is suddenly thrown into question

  • 'Indemnity'
    Reviews

    ‘Indemnity’: Fantasia Review 6r6s4k

    2021-08-12T02:30:00Z

    A wrongfully accused man is chased by cops and mercenaries in this paranoid political thriller

  • Mariner Of The Mountains
    Reviews

    ‘Mariner Of The Mountains’: Cannes Review 2z6u68

    2021-07-28T10:54:00Z

    Smooth sailing for Brazil’s Karim Ainouz as he traces his family’s recent past back to Algeria

  • Casablanca Beats
    Reviews

    ‘Casablanca Beats’: Cannes Review 555k6b

    2021-07-15T22:12:00Z

    A vibrant musical from Nabil Ayouch, shot over two years at the cultural centre he founded 

  • Feathers c Still Moving
    Reviews

    ‘Feathers’: Cannes Review 4y4t3e

    2021-07-15T07:10:00Z

    Unsettling, wry drama/comedy from Egypt is the winner of the 2021 Critics’ Week top prize at Cannes

  • Europa
    Reviews

    ‘Europa’: Cannes Review 155y3j

    2021-07-14T14:12:00Z

    An Iraqi refugee desperate for a new life attempts to outrun bloodthirsty Turkish ‘migrant hunters’

  • Neptune Frost
    Reviews

    ‘Neptune Frost’: Cannes Review 1p2c3q

    2021-07-14T13:21:00Z

    Cyber-musical from Rwanda showing in Directors’ Fortnight displays defiant and dizzying originality