RAWY FILMS

Perpetual Displacement?

A closer look at Mahdi Fleifel’s To a Land Unknown

"In a way, it’s sort of the fate of Palestinians not to end up where they started, but somewhere unexpected and far away."

(An)Aesthetic of Disaster

Omar Mismar on A Frown Gone Mad

I had wanted to explore Botox (and fillers) as a "postwar aesthetic"—something shaped by trauma, a mask against violence.

beyond right and wrong

unpacking scandar copti's happy holiday's

Happy Holidays is not an easy watch. But it is an essential one. Copti holds a mirror to Palestinian life in Israel, and what it reflects is not just cracked but fractured into competing truths, painful loyalties, and impossible choices.

happy holidays at ALFILM #16

a conversations with

Stereotypes reduce people to one-dimensional roles. In the Palestinian context, they often serve political agendas, portraying us as either victims or threats, while ignoring our emotional depth and the diversity within our communities.

From Backyard Raves to Global Activism: Mo El-Amin’s DIY Blueprint on Finding Meaning in Shared Spaces

"We’ve basically built a “fundraiser economy” where collectives, communities, and friends run solidarity events, scrape together resources, and still make meaningful change"

The Crumbling House, the Shifting Nation:

Mehrjui's "The Tenants" under Examination

"One would need a highly paranoid and sick mind to look for such interpretations in a film like this and try to prove that you are an enemy [of the country]." Mehrjui

podcast x Alfilm

what stories are shaping arab cinema today

The notion of identity runs parallel with that of borders, for how else do we know what we are from what we are not? Physical confinement means further psychological isolation.

STATELESS CINEMA, REVISITED

On Turtles Can Fly

The notion of identity runs parallel with that of borders, for how else do we know what we are from what we are not? Physical confinement means further psychological isolation.

Beyond the Ban: Methods to Preserve
Free Expression

Imagine a film smuggled on a USB stick across borders hidden in a birthday cake – if you‘re wondering if that’s a funny idea for a script or a true story, read on!

Finding Home in a Kingdom of Strangers:
A Conversation

«My films stem from my own emotions, memories, and unresolved burdens that occupy me as an individual»

If These Walls Could
Listen

On July 1, 1934, at approximately 5 p.m., Egyptians tuned in to the Cairo Egyptian Radio Station to hear Ahmed Salem utter what would become one of the country’s
most iconic phrases, "Huna Al Qahera" ("This is Cairo").

Series: Women in Cinema
#1 A Window through the Screen

Representation of Iranian women in post-revolutionary cinema using the example of The May Lady by Rakhshan Banietemad.

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© 2024 Rawy Films

legal

© 2024 Rawy Films

COMPANY

podcast x alfilm

what stories are shaping arab cinema today?

podcast x alfilm

what stories are shaping arab cinema today?

podcast x alfilm

what stories are shaping arab cinema today?

Imagine a film smuggled on a USB stick across borders hidden in a birthday cake – if you‘re wondering if that’s a funny idea for a script or a true story, read on!

This episode is an exclusive backstage pass to ALFILM's 16th editions, unveiling the groundbreaking films set to ignite conversations and challenge perspectives.

This episode is an exclusive backstage pass to ALFILM's 16th editions, unveiling the groundbreaking films set to ignite conversations and challenge perspectives.

Perpetual Displacement?

A closer look at Mahdi Fleifel’s To a Land Unknown

From Backyard Raves to Global Activism: Mo El-Amin’s DIY Blueprint on Finding Meaning in Shared Spaces

From Backyard Raves to Global Activism: Mo El-Amin’s DIY Blueprint on Finding Meaning in Shared Spaces

"We’ve basically built a “fundraiser economy” where collectives, communities, and friends run solidarity events, scrape together resources, and still make meaningful change"

"We’ve basically built a “fundraiser economy” where collectives, communities, and friends run solidarity events, scrape together resources, and still make meaningful change"

"We’ve basically built a “fundraiser economy” where collectives, communities, and friends run solidarity events, scrape together resources, and still make meaningful change"

The Crumbling House, the Shifting Nation:

Mehrjui's "The Tenants" under Examination

The Crumbling House, the Shifting Nation: Mehrjui's "The Tenants" under Examination

"One would need a highly paranoid and sick mind to look for such interpretations in a film like this and try to prove that you are an enemy [of the country]." Mehrjui

"One would need a highly paranoid and sick mind to look for such interpretations in a film like this and try to prove that you are an enemy [of the country]." Mehrjui

beyond right and wrong

unpacking scandar copti's happy holiday's

beyond right and wrong

unpacking scandar copti's happy holiday's

Happy Holidays is not an easy watch. But it is an essential one. Copti holds a mirror to Palestinian life in Israel, and what it reflects is not just cracked but fractured into competing truths, painful loyalties, and impossible choices.

Happy Holidays is not an easy watch. But it is an essential one. Copti holds a mirror to Palestinian life in Israel, and what it reflects is not just cracked but fractured into competing truths, painful loyalties, and impossible choices.

beyond right or wrong

unpacking scandar copti's happy holiday's

happy holidays at ALFILM #16

a conversations with Scandar Copti

happy holidays at ALFILM#16

a conversation with

Happy Holidays is not an easy watch. But it is an essential one. Copti holds a mirror to Palestinian life in Israel, and what it reflects is not just cracked but fractured into competing truths, painful loyalties, and impossible choices.

Stereotypes reduce people to one-dimensional roles. In the Palestinian context, they often serve political agendas, portraying us as either victims or threats, while ignoring our emotional depth and the diversity within our communities.

Stereotypes reduce people to one-dimensional roles. In the Palestinian context, they often serve political agendas, portraying us as either victims or threats, while ignoring our emotional depth and the diversity within our communities.

(An)Aesthetic of Disaster

Interview with Omar Mismar on A Frown Gone Mad

(An)Aesthetic of Disaster

Interview with Omar Mismar on A Frown Gone Mad

(An)Aesthetic of Disaster

Interview with Omar Mismar on A Frown Gone Mad

I had wanted to explore Botox (and fillers) as a "postwar aesthetic"—something shaped by trauma, a mask against violence.

I had wanted to explore Botox (and fillers) as a "postwar aesthetic"—something shaped by trauma, a mask against violence.

Perpetual Displacement?

A closer look at Mahdi Fleifel’s To a Land Unknown

Perpetual Displacement?

A closer look at Mahdi Fleifel’s To a Land Unknown

Perpetual Displacement?

A closer look at Mahdi Fleifel’s To a Land Unknown

"In a way, it’s sort of the fate of Palestinians not to end up where they started, but somewhere unexpected and far away."

Happy Holidays is not an easy watch. But it is an essential one. Copti holds a mirror to Palestinian life in Israel, and what it reflects is not just cracked but fractured into competing truths, painful loyalties, and impossible choices.

"In a way, it’s sort of the fate of Palestinians not to end up where they started, but somewhere unexpected and far away."

STATELESS CINEMA, REVISITED

On Turtles Can Fly

STATELESS CINEMA, REVISITED

On Turtles Can Fly

STATELESS CINEMA, REVISITED

On Turtles Can Fly

The notion of identity runs parallel with that of borders, for how else do we know what we are from what we are not? Physical confinement means further psychological isolation.

The notion of identity runs parallel with that of borders, for how else do we know what we are from what we are not? Physical confinement means further psychological isolation.

The notion of identity runs parallel with that of borders, for how else do we know what we are from what we are not? Physical confinement means further psychological isolation.

Beyond the Ban: Methods to Preserve Free Expression

Beyond the Ban: Methods to Preserve Free Expression

Beyond the Ban:

Methods to Preserve Free Expression

Imagine a film smuggled on a USB stick across borders hidden in a birthday cake – if you‘re wondering if that’s a funny idea for a script or a true story, read on! ("This is Cairo").

Imagine a film smuggled on a USB stick across borders hidden in a birthday cake – if you‘re wondering if that’s a funny idea for a script or a true story, read on! ("This is Cairo").

Imagine a film smuggled on a USB stick across borders hidden in a birthday cake – if you‘re wondering if that’s a funny idea for a script or a true story, read on! ("This is Cairo").

Finding Home in a Kingdom of Strangers: A Conversation with Randa Ali

Finding Home in a Kingdom of Strangers: A Conversation with Randa Ali

Finding Home in a Kingdom of Strangers: A Conversation with

The notion of identity runs parallel with that of borders, for how else do we know what we are from what we are not? Physical confinement means further psychological isolation.

«My films stem from my own emotions, memories, and unresolved burdens that occupy me as an individual»

«My films stem from my own emotions, memories, and unresolved burdens that occupy me as an individual»

If These Walls Could Listen

If These Walls Could Listen

On July 1, 1934, at approximately 5 p.m., Egyptians tuned in to the Cairo Egyptian Radio Station to hear Ahmed Salem utter what would become one of the country’s most iconic phrases, "Huna Al Qahera"

On July 1, 1934, at approximately 5 p.m., Egyptians tuned in to the Cairo Egyptian Radio Station to hear Ahmed Salem utter what would become one of the country’s most iconic phrases, "Huna Al Qahera"

Series: Women in Cinema
#1 A Window through the Screen

Series: Women in Cinema
#1 A Window through the Screen

Representation of Iranian women in post-revolutionary cinema using the example of The May Lady by Rakhshan Banietemad.

Representation of Iranian women in post-revolutionary cinema using the example of The May Lady by Rakhshan Banietemad.