VISIT IRAQ (2003)

A Film by Kamal AlJafari
A poetic documentary on the abandoned agency of the airline company Iraqi Airways in Geneva.

ABU ATHIYYA (FATHER OF PAIN) (2013)

A Film by Monira Al Qadiri
A music video based on a piece of Iraqi saga – a Mawwal (lamentation) song performed by the famous southern Iraqi singer Yas Khodhor. The artist plays the role of the singer in an almost ghost-like funerary setting, and performs a knife dancing ritual akin to the choreography of the legendary Iraqi gypsy dancer Malayeen. The video embodies a kind of eulogy towards the aesthetics of sadness – a prominent form of aesthetic appreciation for centuries in the Arab region – that is now rapidly dying away.

A FIELD GUIDE TO THE FERNS (2015)

A Film by Basma AlSharif
“Primitive savagery meets the brutality of the modern world in Ruggero Deodato’s timeless slice of visceral horror”. Cannibal Holocaust is revived deep in the New Hampshire woods where apathy and violence are blurred.

PASOLINI PA* PALESTINE (2005)

A Film by Ayreen Anastas
“Pasolini Pa* Palestine is an attempt to repeat Pasolini’s trip to Palestine in his film, Seeking Locations in Palestine for The Gospel According to Matthew (1963). It adapts his script into a route map superimposed on the altered landscape of Palestine, creating contradictions and breaks between the visual and the audible, the expected and the real. The video explores the question of repetition. For Heidegger Wiederholung ‘repetition, retrieval’ is one of the terms he uses for the appropriate attitude toward the past. “By the repetition of a basic problem we understand the disclosure of its original, so far hidden possibilities.” The project ventures a conversation and a dialogue with Pasolini, especially his ‘Poem for the Third World’. Discutere ‘to smash to pieces’ is the Latin source of dialogue, discussion. The piece does not criticize Pasolini, but reveals unnoticed possibilities in his thought and works back to the ‘experiences’ that inspired it.”

PRET-A-PORTER IMM ALI (2003)

A Film by Dima El Horr
Imm Ali lives with her family in a village in South Lebanon, a few kilometers from the Israeli border. She sells women’s clothes in her house. In a final effort to expand her business, she installs a luminous sign, the first in the village. But a few hours later, the neon sign goes out.

THE LOST FILM (2002)

A Film by Joana Hadjithomas & Khalil Joreige
A copy of our first feature film disappeared in Yemen, on the day of the tenth anniversary of the reunification of North and South. A year later we are there, following the track of the lost film. An enquiry that takes us from Sanaá to Aden, a personal quest centering on the image and on our status as filmmakers in this part of the world…

O SWORDS… TAKE ME (2013)

A Film by Marwan Hamdan
In one of his poems, poet Mohsen Al Ha’eri, speaking in the voice of Imam Hussein (the son of Imam Ali and, after his father, the second of the twelve Shi’a Imams) prior to his martyrdom in the battle of Karbala, says: “If the religion of Mohammed shall not prevail but through my killing/ Then O swords take me”. This video attempts to look at the mythological and metaphysical aspects of Lebanon’s July 2006 war between Israel and Hezbollah.

BLESSED BLESSED OBLIVION (2010)


A Film by Jumana Manna
In the work Blessed Blessed Oblivion Jumana Manna portrays a group of men that live in the Arab area of Silwan in East Jerusalem. The place dominated by violence, drugs and crime, openly sexist and misogynistic language, and criminal code of honour reveals an unknown face of Jerusalem, a city generally considered as holy and a place of worship. Following her protagonist Ahmad with a camera, Manna observes the places where the men gather – a car wash, a barber’s and a gym and in this way documents the world that a young woman in Jerusalem usually cannot access. The film expresses the fears and dreams of the city, burdened with symbols and plunged in conflict, which is sliding into the lethargy of “blessed oblivion” and the unclear desire of heroic resistance – expressed by the poem that Ahmad recites: Abd al-Rahim Mahmud’s “The Martyr” from 1936. The film openly borrows inspiration from the avant-garde, music-based and dialogueless film “Scorpio Rising” by Kenneth Anger from 1963, a work that portrays the culture of Los Angeles motorcyclists full of love for the male icons of their times, such as Marlon Brando and James Dean. The two films share the cult of manhood and strongly perceptible eroticism.

TANGO OF YEARNING (1998)

A Film by Mohamed Soueid
Tango of Yearning (1998) is the first episode of an autobiographical trilogy on postwar Lebanon, later including Nightfall (2000) and Civil War (2002). Taking its title from (Tango of Hope), a classic ballad by Nur al-Huda, the film draws from the director’s reflections on war, love, and cinema, as well as his personal experience at the public television channel TéléLiban. Conjuring various snippets of audiovisual archival material, the film is a poetic elegy to film, Beirut’s movie theaters, and a city undergoing radical transformation. Mohamed Soueid has long been a proponent of the experimental video documentary movement in Lebanon, playing a significant role in the country’s creative renaissance since the end of the civil war. Originally trained as a news videographer during the war, the experience offered him a facility with the medium, which he further developed by making non-linear documentary films with a distinctly personal take.

BENT JBEIL (2008)

A Film by Wael Shawky
As the artist meanders through Bent Jbeil’s old center, amidst rubble and destruction from the Israeli assault on Lebanon in the summer of 2006, he recites verse from surat Al-Baqara in the Quran (verses 40 to 123), that refer specifically to the relationship between Jews, Christians and Muslims, and relays the story of Moses and the people of Israel.