Does Yousry Nasrallah’s collaboration with Sobky take exoticism too far?
On Brooks, Meadows and Lovely Faces
On Brooks, Meadows and Lovely Faces
If we judge this film as a history lesson, it is quite successful.
It is not just the film’s plot that is insensitive and reductive.
There is no liberty in revolutionary art existing according to the whims of the art market and a security state.
Designers utilize old skills and local materials to make new products at Dubai Design Week.
The Cairo film festival continues, as does the Contemporary Image Collective’s exhibition Evasive Routes. As part of the parallel program for the CiC show, on Tuesday and Wednesday Alexandria’s Wekalet Behna…
The way the project displayed commodities failed to reveal new things about them or those who made them.
"They fear culture," said an artist who frequents the center.
From new features to highlights of the program, here's our take on CIFF
Collecting images during very severe moments of change can sometimes create a fake narrative.
Albert Arie gets a chance to talk about being an Egyptian activist, not just an Egyptian Jew
Panorama helps show why films matter in a time of crisis.
Art, Kuwaiti music, a scatological farce from 1896, a party and lots of films.
On a British Museum show and the natural movement of objects toward greater value.
Two independent exhibitions commemorate an important chapter of Egyptian Modernism.
Left desolate by an ultra-violent thriller on the day Trump won, but uplifted by a Rossellini masterpiece.
At times it’s hard to know what’s going on in this sci-fi novella, but that’s part of the fun.
This year Panorama's young team seem to be doing a good job with audience management.
We saw two movies yesterday at Panorama. Freak Orlando, a rarely screened 1981 experimental fantasy film by German feminist filmmaker Ulrike Ottinger,…
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