The Gulf War... What Next?

Tweed, Bird, and Johnny are three outcasts who just want to belong. Obsessed with computer games they buy one from a street peddler and end up entering an alternate universe, much like theirs but instead they're the most popular boys in school. The alternate universe is their dream world and they have to choose whether or not to leave.

Chronicle of a Disappearance unfolds in a series of seemingly unconnected cinematic tableaux, each of them focused on incidents or characters which seldom reappear later in the film. Among the many unrelated scenes, there is a Palestinian actress struggling to find an apartment in West Jerusalem, the owner of the Holy Land souvenir shop preparing merchandise for incoming Japanese tourists, a group of old women gossiping about their relatives, and an Israeli police van which screeches to a halt so several heavily armed soldiers can get off the car and urinate.

A Palestinian filmmaker is writing a script in his New York apartment during the first Gulf war. As much as he tries to shut himself off from the exterior world, images of past wars in the Middle East come back to haunt him.

A collective film of 33 shorts directed by different directors about their feeling about cinema.

This highly kinetic tableaux of uprooted sights and sounds works most earnestly to expose the racial biases concealed in familiar images. Relying on valuable snippets from feature films such as "Exodus", "Lawrence of Arabia", "Black Sunday", "Little Drummer Girl", and network news shows, the filmmakers have constructed an oddly wry narrative, mimicking the history of Mid East politics.

Santa Claus tries to outrun a gang of knife-wielding youth. It's one of several vignettes of Palestinian life in Israel - in a neighborhood in Nazareth and at Al-Ram checkpoint in East Jerusalem. Most of the stories are droll, some absurd, one is mythic and fanciful; few words are spoken. A man who goes through his mail methodically each morning has a heart attack. His son visits him in hospital. The son regularly meets a woman at Al-Ram; they sit in a car, hands caressing. Once, she defies Israeli guards at the checkpoint; later, Ninja-like, she takes on soldiers at a target range. A red balloon floats free overhead. Neighbors toss garbage over walls. Life goes on until it doesn't.

Filmmaker Elia Suleiman travels to different cities and finds unexpected parallels to his homeland of Palestine.

The Palestinian film-maker Elia Suleiman goes in search of his past and possible future in occupied territory. Wherever he looks, he feels surrounded by images and places that have a political significance. Can a landscape be free of meaning, is there any point in striving for an approach that transcends all ideology?

An examination of the creation of the state of Israel in 1948 through to the present day. A semi-biographic film, in four chapters, about a family spanning from 1948 until recent times. Combined with intimate memories of each member, the film attempts to portray the daily life of those Palestinians who remained in their land and were labelled "Israeli-Arabs," living as a minority in their own homeland.

A Tunisian breakdancer falls in with fundamentalists with designs to turn the young man into a suicide bomber.

Youssef Soltane, a 45-year-old Tunisian intellectual, is the product of a generation that lived the era of euphoria and great ideologies in the sixties, and their subsequent failure. He was incarcerated and tortured for his political opinions. Furthermore, his relationship with Zineb, a young, beautiful bourgeois, only brings him more trouble. During one long winter night, Youssef wanders in search of an emotional haven, prey to all the questions that flood his memory.

The 40-year-old Omrane is in charge to find maid placements in Tunis for the girls from his village. But the most rebel of the girls has escaped and he has to look for her to get her back in the right path. The girl refuses to lose the freedom she just obtained. For her part, the young Fedlah who was enthusiastic by going to town quickly discovers a world where childhood doesn't belong to.

In late 2013, Zina and Djo, both in their twenties, come back to Tunisia from the Syrian front where they were sequestrated and raped. Zina was separated from her two-month-old child and Djo finds out she's pregnant and plunges into mutism and expresses her Syrian horror only in the novel she is writing. Tunisian lawyer, Nadia and Dora, a humanitarian doctor, assist them in their hard and lengthy reconstruction; impeded by the violence of their close circles, the harsh view on the social networks and their angst. Nadia, also Driss' lawyer, a 21-year-old persecuted homosexual who's been banned from all school establishments, asks him to help Zina in the hopes that their stirring meeting will allow them to open their black boxes, to assume themselves and stand up to the unjust society.

Three well-educated North African women cope with sexual stereotyping in modern Tunisia. Amina a married Muslim woman living in Tunis with her two daughters. Even though she is allowed certain freedoms as a Muslim woman this is curtailed when she meets her old friend from school Aida.

In the ensuing days before his wedding bridegroom Hachemi faces both the anxieties of the future and the shadows of the past. His best friend, Farfat, is the topic of street graffiti and local gossip, which calls his manhood into question. This ripples out to affect Hachemi for, unbeknownst to anyone, as apprenticed youths they were molested by Ameur, the local carpenter. Farfat is banished from his father's home and the shared secret between the two friends threatens to undo more than just the wedding, but their very lives.

Roufa (Abdel Kechiche) is an attractive young man, and that works out well for him because he is a practitioner of "bezness:" he's a sex-for-hire boy for the tourists who come to Tunisia. His girlfriend deeply resents his having sex with other women but doesn't seem much bothered that a rich German man he's been having sex with is hoping to sponsor him in Europe. She also has a hard time with his tendency to behave like any other Arab male around a woman, telling her how to take care of her business. As it turns out, she's got better sense than any of the men around her.

Zeina (Nadine Acoury) is a Catholic student whose good friend Haidar (Haithem El Amine), a Muslim, has always been particularly close. After a futile attempt to get together (he gets caught in traffic), they each decide to make an audio tape trying to explain, based on their own ideas, why there continues to be fighting in Lebanon now, in 1977, and why they are against it. Zeina is about to leave for the United States and Haidar is to meet her at the airport, where they will exchange their tapes. Alas, fate intervenes because when he arrives early at the airport, he is harassed by someone looking to prey on gullible refugees and he gets so angry that he grabs a taxi out of there, throwing his tape away as he does so. When Zeina arrives and realizes he is not there, she is broken-hearted. In a strange twist at the end, the cast and the director (Borhane Alaouie) have a discussion as to whether or not the character of Haidar should kill himself.

This is Egypt and one of its symbols, Sad Al-Ali, the massive wonder that is the high dam of Aswan. With a first-person narrative in a soft, husky voice, the film explores the memory of the Nile Valley to tell the story of Lake Nasser and the ecological and human consequences of this construction. Floods caused by the Ethiopian rains spread the silt and evacuated the algae. The order of nature was disrupted, the salt rose and cracked the earth, the crops burned. Sea water reached the water tables. The Nubians fled the valley engulfed by the waters, leaving behind their villages and their culture. Twenty-five years after the construction of the dam, there is no longer any coherence between the lower valley and the Nile. The city of Cairo has expanded, a heterogeneous development where human pollution overflows. The film is a bitter reflection on a lost human philosophy, a dialogue constantly renewed with the land and its river.

Documentary about Lebanon after the civil war.

The Egyptian architect Hassan Fathy talks about his life and work. Footage of Cairo, Gharb Assouan, New Gourna, Kom-Ombo.

On the eve of the Israeli attack on Egypt in 1956, Israel decalres Martial law in all the occupied Arab teritories without any previous notice. When the villagers of Kafar Kassem returned home from the fields, they were butchered and killed in what is known today as the massacre of “Kafar Kassem”.

Alaouié presents the stories of four exiles from Beirut. Their only connection is the voice of the narrator and their situation of living in exile in Europe. Told with a subtle humor, the film sketches four highly individual portraits of people, whose lives have taken unexpected turns due to the madness of the Civil War.

Love always wins The class struggle between loving the poor, or asking yourself an excuse to be selfish for trying to live a luxury life,

A determined young woman in a remote Tunisian city bucks tradition by studying for an academic degree, instead of accepting the time-honored, submissive role of her sex as a wife and housekeeper for some 'mustached man'.

Directed by Mustapha Derkaoui.

Directed by Mustapha Derkaoui.

Directed by Mostafa Darkaoui.

In search of a subject for their film, a group of directors ask passers-by about their expectations of Moroccan cinema in the streets and bars of Casablanca.

Directed by Mustapha Derkaoui.

Directed by Abdelkrim Derkaoui et al.

The film revolves around a comic character in which he sarcastically discusses many of the issues in Moroccan society, with El Hadji El Souledi, a candidate for elections in Casablanca, whose character is a symbol of illegal wealth and moral corruption. His life is divided among bars, nightclubs and prostitution. While the police officer Adel and beautiful names that are associated with the life of the child and trying to get rid of it and corruption so that they succeed in the latter in it.

Directed by Mustapha Derkaoui.

A film that describes how someone who is haunted by the idea of death learns to suffer.