This Animated short film entitled “Think… and Save Water” has been produced to create awareness about water conservation, as a part of a huge campaign organized by the Queen Alia competition for voluntary social work to raise awareness about Jordan's water situation and how to use water responsibly and to avoid excessive use.

Shofit Ainak, cela veut dire “Regarde avec tes propres yeux ». Cette série avait pour but de présenter les cases sociales et politiques Jordannnes d’une façon sarcastique et drôle. Le personnage principal a été inspiré par Suma (Mousa Hijazeen), un comédien très fameux et le premier acteur en Jordan, qui a enregistré sa voix afin de personnaliser ce personnage. « Shofit Ainak » a plu à tous les Jordanns et les pays qui entourent la Jordan.

In Palestine, the political and social conflicts are strongly connected. This has produced existing communities which no longer exist on the world map. The inhabitants who live in dark cold caves, become just passing souls that live and die as the human world shine through.

"I want to live"

The film depicts the life of a young man of 22, suffering from short stature and a seller of cakes starts his day at four in the morning until four o'clock pm. The film depicts the everyday life experienced by this young man during the follow-up of a whole day to watch the details of his life

"Until When"

A Palestinian movie talking about a group of new graduates facing obstacles taken from the Palestinian reality. The events are played by 5 characters each are talking about an individual case such as unemployment, corruption, immigration, gender and nepotism.

A documentary that begins with a bustling Egyptian city, a trip through the desert to the oasis of Siwa, where human traces are lost in space without borders and time. It will come to the town of Shali, where life still flows according to ancient rhythms; for responsible tourists there will be the ritual of tea and the sand dunes, typical products and Egyptian hospitality.The documentary footage is accompanied by poems and fragments of an ancient history, a source of pride for the inhabitants of the oasis of great charm and attraction for tourists.

"I learnt to be a juggler…

I learnt to hold my tears when grieving…"- Massar Egbari

Hawi recreates real-life stories, addresses all Egyptians with their own language- nonetheless creates an air of contemplation and intrigue for its audience, making them feel part of the film, yet keeping the exquisite cinematic experience at its best.

Shot in Alexandria using non-professional actors and an unpaid crew, Ibrahim El Batout's third feature continues the Egyptian filmmaker's obsession in contemplating the details of daily Egyptian life. Inspired by the alternative cinema of Goddard, Vertov and Kiarostami, the story follows the journey of Youssef, a prisoner released after five years of solitary confinement in order to fetch a sheath of important documents, with a number of seemingly unconnected subplots, concerning a group of aspiring songwriters, a satellite TV executive searching for a show host, an elderly juggler leading his sickly old horse though the city streets, and so on. As a result, what might have been a straight-ahead story with predictable scenes, becomes an organic study of a city populated by disparate, often desperate, characters, a closer view of so-called reality and the lives of everyday people.

Au commencement, certes…

Le texte est dense, parfois obscur. Le surréalisme des didascalies les rend plus poétiques que théâtrales. Face à cette matière vivante, où grain, épaisseur, porosité, élasticité, brillance sont les caractéristiques essentielles de ces sculptures sonores, Frédéric Kahn, en projetant le timbre comme une lumière, propose une musique électroacoustique également très dense, rugueuse ; scènes courtes, aiguës, mordantes jusqu’au sang ou mirage hallucinatoire qui semble rendre le son visuel. Dans le volet visuel, Thomas Bart joue face à ces matières denses et compactes (texte/musique) de plusieurs manières : tantôt en accord avec l'épaisseur générale, tantôt en opposition. Le matériau image est extrêmement concret, au sens musical du terme. Ainsi, entre mysticisme et provocation, la partie visuelle demeure bien à l’image de la pièce d’Arrabal : complexe, étrange et fascinante. «Au commencement était le verbe»…

À la fin: à chacun d’entendre, et de voir.

Ce film a été réalisé dans le cadre du festival de la révolution du Regueb.

Regueb le Champs de bataille contre la colonisation française ainsi que la dictature de Ben Ali, ce film fait la liaison entre les deux époques à travers les dessins des enfants et le témoignage d'un vieux militant de cette région.

Des squelettes des personnes décédées tentent d’éviter la mort et de retrouver la vie, poussées par d’irrésistible nostalgie du sentiment d’exister.

Casting # 4 adresses psychological issues of a girl who lives in fear and obsession of someone unknown. In the toilet, where the door is locked and where the thoughts are always there, the girl still sees, feels, and touches the unknown. She is there alone struggling with her internal conflict.

Why Casting # 4 ? This is the main surprise in the film.