More and more attention is being given to the presence of Arab cinema in the international film market.
There’s a general trend, especially in mainstream narrative cinema, to approach the cinematic medium as capable of expanding our moral horizons.
This film helps us, especially as people from the Arabic-speaking world, to see the world differently.
The openness and flexibility of the festival is appealing, just like other spaces free from ministry influence and clear institutional visions.
Panorama helps show why films matter in a time of crisis.
Left desolate by an ultra-violent thriller on the day Trump won, but uplifted by a Rossellini masterpiece.
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,…
In the first of our dispatches from this year's Panorama of the European Film, Lara El Gibaly gives her thoughts on day…
What does it mean to screen what has historically been the cinema of European auteurs in Egypt, given the assemblages of power…
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