all that is left of you: A Film About Humanity as a Means of Survival
“I am the sea, in whose depths pearls lie hidden—
Did they ever ask the diver about my shells?”
— Hafez Ibrahim
Against All Odds and Algorithms: a love letter to independent cinema
This is my love letter to cinema—and more specifically, independent cinema. I love it because it stubbornly refuses to treat a film like a product on a shelf or a line on a financial spreadsheet. It treats film as an unfiltered human pulse. It's the raw, honest, and beautifully messy truth of our lives up on the screen, and as long as I am curating, programming, and breathing, I never want to stop looking for it.
cotton queen: The Past Is A Story We Tell Ourselves
Suzannah Mirghani’s feature debut “Cotton Queen” plants a tender coming-of-age story in the soil of a Sudanese village’s fragile independence.
Exile Cinema: Recovering the Homeland or Reinventing It?
Homeland, when seen from within, differs radically from the homeland reconstructed from the outside and even more so when it is lost, destroyed, or deferred in memory.
all that is left of you: A Film About Humanity as a Means of Survival
“I am the sea, in whose depths pearls lie hidden—
Did they ever ask the diver about my shells?”
— Hafez Ibrahim
Against All Odds and Algorithms: a love letter to independent cinema
This is my love letter to cinema—and more specifically, independent cinema. I love it because it stubbornly refuses to treat a film like a product on a shelf or a line on a financial spreadsheet. It treats film as an unfiltered human pulse. It's the raw, honest, and beautifully messy truth of our lives up on the screen, and as long as I am curating, programming, and breathing, I never want to stop looking for it.
cotton queen: The Past Is A Story We Tell Ourselves
Suzannah Mirghani’s feature debut “Cotton Queen” plants a tender coming-of-age story in the soil of a Sudanese village’s fragile independence.
Exile Cinema: Recovering the Homeland or Reinventing It?
Homeland, when seen from within, differs radically from the homeland reconstructed from the outside and even more so when it is lost, destroyed, or deferred in memory.
Rawy is dedicated to promoting independent films from the South West Asia and North Africa (SWANA) region. We organize Pop-up Cinema events worldwide, fostering cultural exchange and stimulating dialogue around films.
Rawy is dedicated to promoting independent films from the South West Asia and North Africa (SWANA) region. We organize Pop-up Cinema events worldwide, fostering cultural exchange and stimulating dialogue around films.
ALFILM Arab Film Festival | Ep. 4 Rawy Talks with Suzannah Mirghani & Mihad Murtada
In the episode of Rawy Talks, we sit down with Suzannah Mirghani and Mihad Murtada
to discuss their latest film, Cotton Queen, which explores generational divides among women in Sudan, following a young girl as she tenderly and courageously carves out a space for herself and her voice within her community.
ALFILM Arab Film Festival | Ep. 4 Rawy Talks with Suzannah Mirghani & Mihad Murtada
In the episode of Rawy Talks, we sit down with Suzannah Mirghani and Mihad Murtada
to discuss their latest film, Cotton Queen, which explores generational divides among women in Sudan, following a young girl as she tenderly and courageously carves out a space for herself and her voice within her community.
Against All Odds and Algorithms: a love letter to independent cinema
This is my love letter to cinema—and more specifically, independent cinema. I love it because it stubbornly refuses to treat a film like a product on a shelf or a line on a financial spreadsheet. It treats film as an unfiltered human pulse. It's the raw, honest, and beautifully messy truth of our lives up on the screen, and as long as I am curating, programming, and breathing, I never want to stop looking for it.
all that is left of you: A Film About Humanity as a Means of Survival
“I am the sea, in whose depths pearls lie hidden—
Did they ever ask the diver about my shells?”
— Hafez Ibrahim
Against All Odds and Algorithms:
a love letter to independent cinema
This is my love letter to cinema—and more specifically, independent cinema. I love it because it stubbornly refuses to treat a film like a product on a shelf or a line on a financial spreadsheet. It treats film as an unfiltered human pulse.