Habibi Hussein

An examination of the creation of the state of Israel in 1948 through to the present day. A semi-biographic film, in four chapters, about a family spanning from 1948 until recent times. Combined with intimate memories of each member, the film attempts to portray the daily life of those Palestinians who remained in their land and were labelled "Israeli-Arabs," living as a minority in their own homeland.

People of the Wasteland is an experimental short-film, in a first-person point of view, depicting the clashes of Syrian fighters in the front line. In the chaos of war, the lines between right and wrong become blurred. This exclusive Go-Pro footage from inside war aims to remind us that in a territory where the landscape and the people are ephemeral because of war, only the camera can remain alive, and only the image of a certain moment can remain eternal.

Sami was at his parents’ house back in the village, when peace began to break out. He had gone there with his wife and kid for his brother's wedding . Back in the village people told him, “There’s no place like home,” and asked when he’d be coming back, but deep down Sami knew that he had forgotten. You can’t be away for that long without forgetting something.

Milo, a strong-willed feminist, discovers the long-sought power to wander around freely in Baghdad by dressing in her brother’s clothes. Khalili, a young and ambitious filmmaker, realises that his camera can be the strongest of all weapons.

In a village outside of Beirut, amidst scrap metal, chickens and goats, the quiet Fouad runs a mechanic’s garage with a detached but soothing presence. His customers, both old and young, are invited to sit and drink coffee while they wait for their vehicles to be repaired. In these moments of stillness, the garage becomes a haven for people to express their growing despair amidst the economic collapse that surrounds them. No jobs. Sleepless nights. The burden of school tuition. No one is safe. As the darkness closes in, Fouad must undertake a deeply symbolic, transcendent journey through his own psyche: a search for the other side.

The harvest is over, but a particularly severe drought is causing water problems in the village. Every season, a play is performed in the village, and this year's play is entitled ‘Departures’.

Although Hassan has retired from his job at the water authority, his neighbors are used to him always helping them out. This time, the situation is serious: The entire town is without water, and tensions are rising among the population with every passing day. Hassan would like to help them all, but he also needs time to mourn a friend who recently died under unclear circumstances. Lebanese director Karim Kassem skillfully works with various cinematic genres to create an elegant double portrait of an aging man and the town of which he has been a part all his life. He does so with a sense of nostalgia, subtle humor, and an almost meditative melancholy, mixed with a touch of detective work.

In this documentary, we are invited to the mind of the elderly Hiam, a Palestinian woman from Nazareth. The mundanity of everyday life gives us a few sentimental glimpses of Hiam's past and present through the eyes of the filmmaker Juna Suleiman, her granddaughter.

Aishe, after losing her husband, suddenly became the sole provider for her three children. She participates in several workshops for emancipation of Muslim women and decides to pursue a career as a female plumber to ease her financial situation. WATERPROOF gives a humorous insight into the world of a plumber and her colleagues who try to stand their ground armed only with pliers and screwdrivers. They are the first femal plumbers in Jordan - one of the driest countries in the world.

During the siege of their city, a group of ordinary people struggle to survive amid hunger, snipers, and bombardments, while clinging to human connection, love, and small daily pleasures. Faced with impossible moral choices and deep psychological strain, their lives become inseparable from the siege itself.

A film crew retraces the path of a refugee's journey. They hope to reconstruct a memory landscape, but are instead confronted by the artifice of documentary. Bystanders interject with their opinions on how to make better use of their time. What is a story, and whose right is it to tell?