The express train that is Middle Eastern cinema hit the buffers this year as the global film industry came to a halt amid the Covid pandemic. The shockwaves continue to reverberate: for how long is still not known. But the majority of even these features are stuck in the doldrums and still awaiting a physical premiere. At the Venice Film Festival, the absence of Hollywood, coupled with the reluctance of many European studios and distributors to release their films, served Middle Eastern cinema well, as a record nine features from the region featured across various sections on the Lido. The end results though left much to be desired, revealing a timidity of vision, lack New Grand Tarzan Game Slot artistry New Grand Tarzan Game Slot staleness of treatment. But the small batch of Middle Eastern releases only offered more of the same: the same narratives, the same themes, the same aesthetics. Directors dared not experiment nor re-think staple topics but merely tweaked successful formulae without any deviation from the usual ingredients. Some film-makers did produce distinctive cinematic visions. But each film ultimately failed to expand on the limitations of their scope and flesh out their promising premises. As festivals worldwide have struggled to fill vacant slots, so those films that were included received too much coverage from critics with little else to write about, thereby setting the bar low. In the process, the misperceived progressiveness of many features' political agenda has spawned a celebration of mediocrity. In the film industry and critics, including this writer, wrongly assumed that, following the success of September festivals such as Venice and San Sebastian, cinema and film-making would gradually return. We were wrong: September was only a brief respite from the perpetual pandemic nightmare. With Covid infections showing no signs of slowing down, festivals worldwide have continued to take their events online, thereby limiting the profile and scale of their lineups. The streamers have thrown cinema a lifeline, but no one knows the world we'll wake to when normality is restored. The streamers such as Netflix, Amazon and Mubi have thrown a much-needed lifeline and will continue to control the course of cinema in the near future. Beyond that, no one has any idea what kind of world the film industry will eventually wake up to when normality is restored. It will also intensify the competition for exhibition and distribution during the subsequent 18 months. The global rollout of much-needed vaccination programmes will take time. Cinema will not now return with swing and swagger in as we erroneously anticipated. Budget cuts across Europe and the Middle East will harm production. The new realities presented to us this year will force film-makers to change direction in a way for which they are unlikely yet prepared. The rules of the game will be rewritten. Below I have listed in descending order my seven best Middle Eastern films of New Grand Tarzan Game Slot As imperfect as each undoubtedly is, they nevertheless stood out for their clear-headed engagement with their worlds in a way that transcends the Covid era, and which will keep their urgency and potency fresh long after the pandemic miasma fades. The majority of these titles were screened to limited audiences online: the real struggle now facing Middle Eastern independent film is not only funding amid the economic meltdown, but reaching an audience in an increasingly fragmented marketplace. On one level, this documentary debut from French-Palestinian-Algerian director Lina Soualem, is an intimate record of the disintegrating marriage of her Algerian paternal grandparents who decide to divorce 62 years after they tied the knot in Algeria before moving to France in the late s. But on a different, more profound level, Their Algeria is also an astute study of displacement and cultural dislocation; of the millions of Algerian migrants who found themselves stranded between two worlds, neither of which they fully manage to fit in with. The overuse of invasive close-ups and the lack of sufficient visual breaks — predictable slipups from a first-time filmmaker — bog down the flow in parts, but this still remains a gentle, affecting picture of unspoken emotions and lingering regrets and unfulfilled dreams. Most of all, Their Algeria is about the feebleness of time and the simmering wounds that never heal. Sober and largely detached, Khosrovani pushes the boundaries of documentary narrative, creating a work closer to docu-fiction whose main objective is to understand and analyse, if not exactly to document. Inventive and heartfelt, Radiograph of a Family is both a piece of bravura filmmaking and a poetic essay on the endurance of love, the evolving modes of authority, and the fragility of memory. I began compiling this list in but until now have yet to include a short film. Beneath all the deserved hype lies a sensitive and shrewdly political tale of a year-old working-class teenager Seif Hemeda embarking on a dangerous quest to say one final goodbye to his deceased ex-girlfriend. In 15 minutes and 21 shots, Alaa succeeds, in unsurpassed style, in evoking the pain, confinement and confusion of growing up in post Egypt. Despite its short running time, I Am Afraid to Forget Your Face provides a rare portal into the mindset of a generation — one raised in the ashes of failed revolution. The new offering from Berlin-based Palestinian experimental filmmaker and visual artist, Kamal Aljafari Port of Memory ; Recollection is his most formally daring, most elusive work to date. Ten years after his father's death, Aljafari found the abandoned low-definition videotapes. He then edited dozens of hours in which nothing seems to happen into an minute film abundant with repeated gestures and daily routines. In the process he offers a glimpse of a place and a life that no longer exists. Taking cues from leading Canadian avant-garde director Michael Snow Wavelength and the great French-Belgian Chantal Akerman Down ThereAljafari constantly toys with the footage through different techniques, including inserting superimpositions, rewinding and fast-forwarding, and zooming in. Throughout, the footage is punctuated with wry, sidesplitting intertitles that flower into a full narrative in the poignant, haunting final epilogue.
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