Looking for Muhyiddin

The story of a blind dervish named Bab'Aziz and his spirited granddaughter, Ishtar. Together they wander the desert in search of a great reunion of dervishes that takes place just once every thirty years. With faith as their only guide, the two journey for days through the expansive, barren landscape.

The story revolves around Hassan, who is studying Arabic calligraphy from a grand master. Coming across a manuscript fragment, Hassan searches for the missing pieces, believing that once he finds them, he will learn the secrets of love.

A young teacher arrives to take over a village school isolated in the shimmering desert. Legendary figures materialize out of wells and the desert itself, groups of children hurry through a labyrinth of underground corridors, and the teacher is whisked away to a mysterious rendezvous and never returns.

A Canadian woman of Arab descent undertakes a trip and hires a guide to help her find a specific place in the Tunisian desert. To encourage her to reveal her secret, the guide tells her Sufi stories inspired by his childhood.

There are around twenty thousand cafés in Tunisia, but barely ten movie theaters. In the past, we Arabs missed out on the printing revolution. I wonder if today we are missing out on the image revolution. This political fiction attempts to respond, even through utopia, to the hope inspired by this new Tunisia in the making.

The collected work known as "One Thousand and One Nights" survived for centuries through generations of Arab storytellers, and is now recognized as an integral part of world literature. In this filmed performance, storyteller/filmmaker Nacer Khemir sits on chair in the middle of a dimly lit stage and deploys the magic of words to take us on a journey of the imagination. This simple set-up may not seem like much, but it offers the listener an extraordinarily colorful experience and brilliantly emphasizes the oral nature of the work. As we listen to the expertly told stories, we are equally charmed by their intricacies and entranced by their interconnectedness. Even though Khemir illustrates some of the stories with beautifully filmed sequences, the audience's ability to listen is paramount here. Sheherazade used words to avoid impending death, Khemir uses the art of storytelling to breathe a new life into this ancient masterwork.

The story of a man who asks everyone he meets along the way where the border of an unknown country lies. It may be that ‘this land of God’ is his homeland, at once near and far, familiar and strange, within reach and out of reach.

Wallada, the only child of one of the last Umayyad caliphs, al-Mustakfi murdered in 1025, asserted herself throughout the 11th century as both a poetess and a free woman. The first European woman to hold a literary salon, she surrounded herself with the artistic and the cultured elite of Cordoba of the time. The film is both the portrait of this century, with its contrasts that saw both Ibn Hazm, author of ‘Tawk al-Hamama’, a manuscript on love and lovers, and the rise of the Andalusian poetry and chant, passing through the influence of Ziryab’s school on music, fashion, fragrance and the formation of a refined elite that eventually spread all over al-Andalus and beyond. The film also tells Wallada and the great poet Ibn Zaydun’s unhappy love story, while evocating the civil war and the fall of the Umayyad caliphate of al-Andalus.

An old woman is sitting with motionless and two eyes closed. Suddenly, a visitor shows up in the courtyard of the house while she is looking at the sunlight through a window. The turtle and a door open onto her memories and it makes her think of a memory about a rosary. The images of an unforgettable past remain in her mind with longing about her missing son.