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E. Nina Rothe

Film. Fashion. Life.
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The Diaries, because sometimes life needs more. 

The 7th Arab Film Festival Zurich announces program, with special tributes to Sudanese and Saudi cinema

E. Nina Rothe March 24, 2025

The five day event, which takes place every two years and celebrates the best of Arab cinema, will be held from 2nd to 6th April 2025 in the Swiss city.

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In Cinema, Festival Tags Arab Film Festival Zurich, AFFZ, Arab cinema, Aida Schlaepfer Alhassani, Michel Bodmer, Sudan, Saudi Arabia, Goodbye Julia, Mohamed Kordofani, Amjad Abu Alala, You Will Die at Twenty, Ahd Kamel, My Driver and I, Red Sea International Film Festival, Roula Dakheelallah, Mishaal Tamer, Abu Bakr Shawky, Hajjan, Screen International, NEOM, Mehdi M. Barsaoui, Aïsha, Sofia Alaoui, Animalia, Palestine, Scandar Copti, Happy Holidays, Ajami, Asmae El Moudir, The Mother of All Lies, Backstage, Khalil Benkirane, Afef Ben Mahmoud and Khalil Benkirane, Afef Ben Mahmoud, Tunisa, Morocco, Tunisia, Seeking Haven for Mr. Rambo, Khaled Mansour, Meryam Joobeur, Who Do I Belong To, Brotherhood, Animation Lab at AFFZ, Virtual Reality
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A still from ‘Salted Skins’ by Nicolas Fattouh, courtesy of the DFI

The Cannes Diaries: Doha Dreaming with multiple DFI projects in the Cannes Official line up & Spring 2024 upcoming grants

E. Nina Rothe May 23, 2024

It’s all in a week’s work for the Doha Film Institute, the greatest cinematic organization in the MENA region.

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In Cinema, The Diaries, Festival Tags Doha Film Institute, Qatar, DFI, H.E. Sheikha Al-Mayassa bint Hamad bin Khalifa Al-Thani, Rendez-vous avec Pol Pot, Rithy Panh, Cambodia, Qumra, Iréne Jacob, Grégoire Colin, Cyril Gueï, Cannes Film Festival, Critics' Week, The Brink of Dreams, Nada Riyadh and Ayman El Amir, KEFF, Locust, Taiwan, Morocco, Across the Sea, Saïd Hamich Benlarbi, Egypt, East of Noon, Hala Elkoussy, Mahdi Fleifel, To a Land Unknown, Erige Sehiri, Marie and Jolie, Joyce A. Nashawati, Sound of Silence, Venice Film Festival, Ameer Fakher Eldin, Yunan, Elia Suleiman, MENA region, Hanaa Issa, Fatma Hassan Alremaihi, Al-Dana, Nora Al-Subai, Running With Beasts, Leila Basma, Lebanon, Syria, The Settlement, Mohamed Rashad, Nomadish, Yassine Marco Marroccu, Agora, Ala Eddine Slim, Żejtune, Malta, Alex Camilleri, The Botanist, china, Jing Yi, Another Birth, Tajikistan, Isabelle Kalandar, Horizon, Colombia, César Augusto Acevedo, Tale of the Land, Indonesia, Loeloe Hendra, The Fin, South Korea, Syeyoung Park, Flying Elephants, Mona Khaouli, Munir Khauli, Just Like a Dream, Corine Shawi, Beirut, Road Trip, Linda Qibaa, Speak Image, Speak, Palestine, Pary El-Qalqili, Flower of the Sands, Jaouad Babili, Climbing the Mountains, Algeria, Sabrina Chebbi, She Was Not Alone, Iraq, Saudi Arabia, Hussein Al-Asadi, Those Who Watch Over, Karima Saidi, Ground Zero, collective shorts project, Moondove, Karim Kassem, Cutting Through Rocks, Iran, Sara Khaki and Mohammad Reza Eyni, Requiem for a Tribe, Marjan Khosravi, Badr on the Moon, Jordan, Aisha Al-Jaidah and Kholoud Al Ali, Film, TV Series, Web series, Last Words, Antoine Waked, Palmyra, Carol Mezher and Gabriela Flores, Rent-a-Mama, Dania Bdeir, New York, The Dry Kingdom, Dana J. Atrach, Echoes, Marie-Rose Osta, El'Sardines, Zoulikha Tahar, Before the Day Breaks, Amal Al-Muftah, If Only, Ali Al Anssari, Little Man, Hajri Gachouch, Salted Skins, Nicolas Fattouh, The Heaviness of Absence, Zizou, Jalal Maghout, Khaled Moeit, Maha Al-Thani, Eman, Please Pause, Lulwa Al-Thani, The Star, Ingrid El Zoghby, Another Day Shall Come, Aida Kaadan
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Photo courtesy of the Red Sea Lodge, an initiative by the Red Sea International Film Festival

Photo courtesy of the Red Sea Lodge, an initiative by the Red Sea International Film Festival

The Red Sea International Film Festival announces Red Sea Lodge second edition

E. Nina Rothe January 25, 2021

The Red Sea International Film Festival in Jeddah, Saudi Arabia, has just announced their Red Sea Lodge edition for 2021.

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In Cinema, The Diaries Tags Red Sea Lodge, Red Sea International Film Festival, Arab cinema, applications open, Jeddah, Saudi Arabia, RSIFF, Covid, pandemic, film, cinema, Sharshaf, Hind Alfahhad, Hana Alomair, Talal Ayel, Bullets and Bread, Mohammad Hammad, Kholoud Saad, Mohamed Hefzy, Four Acts of Disruption, Hussam AlHulwah, Mohammad Alhamoud, Torino Film Lab, Jumana Zahid, workshops
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Five films, and much more, to watch at this edition of the New Zealand International Film Festival

E. Nina Rothe July 24, 2020

Going forward, if we’re going to learn anything about the pandemics and how to handle them, it’s going to come from New Zealand. And in the film festival world, if we’re going to find a way to move forward, it will also come from this edition of the New Zealand International Film Festival, under the direction of Marten Rabarts.

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In Cinema, Festival, The Diaries Tags New Zealand International Film Festival, NZIFF, Marten Rabarts, film, film festivals, Covid 19, Martin Margiela, Martin Margiela in his own words, Reiner Holzemer, 1982, Oualid Mouaness, Nadine Labaki, Lebanon, The Perfect Candidate, Haifaa Al Mansour, Saudi Arabia, You Will Die at Twenty, Amjad Abu Alala, Sudan, Venice Film Festival, The Girl on the Bridge, Leanne Pooley, New Zealand, suicide, depression, Jazz Thornton
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Jack Irving in a still from Grear Patterson’s ‘Giants Being Lonely’ — photo courtesy of ROD30 productions

Jack Irving in a still from Grear Patterson’s ‘Giants Being Lonely’ — photo courtesy of ROD30 productions

The Venice Diaries: My favorites so far include an American baseball film and a modern Arab mermaid

E. Nina Rothe September 5, 2019

“If you ask me what I came into this life to do, I will tell you: I came to live out loud.” — Émile Zola

I watch films to understand the world. And it seems sometimes the biggest lessons are just behind the scenes.

What I’ve learned at this year’s Venice Film Festival is that it seems that if you’re a woman journalist, you’re damned if you do and you’re damned if you don’t. I’ve run the gamut from enemy of the people for publishing an interview with a man accused but never convicted of bad things, to being made to feel (by my women editors) that I don’t know how to write just so they can justify only having male writers in their roster. I also felt that a current article was unjust to the amount of women filmmakers that are actually in Venice — if the journalists who wrote it actually bothered to look at all the films, and not only the few titles in Competition — so I pointed out in another piece about a Critics’ Week title that the filmmaker was indeed a woman. And a man, I swear I can’t make this stuff up, added a comment to the FB post saying I made it sound like women filmmakers were creatures from another planet. I used the phrase “woman filmmaker” one time in the entire piece, to claim her as one of my own who makes me proud… But anyway.

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In Cinema, Festival, The Diaries Tags Scales, Shahad Ameen, J'Accuse, An officer and a Spy, Venice 76, Venice Film Festival, Venezia 76, Roman Polanski, Giants Being Lonely, Olmo Schnabel, Grear Patterson, Saudi Arabia, USA, generation Z, Ashraf Barhoum, Basima Hajjar, Oman, Eye & Mermaid, Jean Dujardin, Louis Garrel, Metoo, Emile Zola, Lily Gavin, Jack Irving, Ben Irving, Orizzonti, Critics week, Competition
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The Perfect Candidate by Haifaa al-Mansour

The Venice Diaries: 'The Perfect Candidate' and 'Marriage Story' -- what a way to start it off!

E. Nina Rothe August 30, 2019

What a rollercoaster this has been.

The last couple of months feel like a dream to me. And not a good one. Anyway, cinema always puts me back together, at least films like these do. They somehow erase the cynic in me, and recharge the woman and lover who has been wronged by the world.

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In Cinema, Festival, The Diaries Tags Venezia 76, Venice Film Festival, La Biennale di Venezia, The Perfect Candidate, Marriage Story, New York, Noah Baumbach, Adam Driver, Scarlett Johansson, Laura Dern, Alan Alda, Ray Liotta, Wallace Shawn, Julie Hagerty, oud, music, Saudi Arabia, Saudi cinema, Pedro Almodóvar, Golden Lion for Lifetime Achievement
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Get ready Saudi Arabia, the Red Sea International Film Festival is coming your way!

E. Nina Rothe July 1, 2019

In March of 2020 a revolution will begin in Saudi Arabia. But the country’s royal family and even that now infamous bad boy MBS — as the crown prince is known for short — needn’t worry about getting ready with armies and bodyguards. They just need to sit back, relax and enjoy the show.

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In Cinema, Festival, The Diaries Tags Red Sea International Film Festival, Jeddah, Saudi Arabia, Mohamed Bin Salman MBS, The Red Sea Lodge: "The New Arab Wave", TorinoFilmLab, Arab cinema, Barakah Meets Barakah, Mahmoud Sabbagh, Shivani Pandya, Prince Badr bin Abdullah bin Farhan Al-Saud
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A still from Hamida Issa’s ‘Places of the Soul’

A still from Hamida Issa’s ‘Places of the Soul’

The Qumra Diaries: Souq Waqif, "from desert to desert", Alice Rohrwacher and Kiyoshi Kurosawa

E. Nina Rothe March 22, 2019

On my last day in Doha, I spend the afternoon wandering around the Souq Waqif which I learned from a local filmmaker, literally translates as “the stand up souk.” In the olden days, before Qatar turned into the international, cosmopolitan country it is today, the sea would come straight into the alleys of the souk so the merchants had to stand up and pick up their wares during the tides. Thus the name, and actually while I wandered around checking out the shops, having a shawl sewn from a traditional flower fabric by a local tailor while drinking a karak chai (cardamon infused milky tea) and eating a chapatti flat bread filled with zaatar, I felt like I was transported back to those early days of the pearl divers and their haunting songs of the sea.

Doha is special place. I’ll never get tired of saying it. And their annual Qumra event, organized by the Doha Film Institute is sheer cinematic magic. Qumra is a meeting place, a five-days long networking session, a place to pitch, secure financing and ensure a screening chance for film projects. But it is also an occasion to recharge our collective passion for the movies. For journalists, producers and of course filmmakers, the atmosphere at Qumra offers an almost electric energy, a jolt of renewed hope in the future of the 7th art.

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In Cinema, Interviews, The Diaries Tags Alice Rohrwacher, Kiyoshi Kurosawa, Qumra, Qumra 19, Souq Waqif, Doha, Qatar, Museum of Islamic Art, Qumra working breakfast, Getty Images, Netflix, Japanese cinema, Italian cinema, masterclasses, Agnes Varda, Eugenio Caballero, Pawel Pawlikowski, Elia Suleiman, Hamida Issa, Places of the Soul, Antartica, Arabian desert, Gulf cinema, Saudi Arabia, H.E. Sheikha Mayassa Al-Thani, Fatma Al Remaihi, Hanaa Issa, DFI, Doha Film Institute, Cannes
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Actress Behnaz Jafari with filmmaker Jafar Panahi in a still from '3 Faces'

Actress Behnaz Jafari with filmmaker Jafar Panahi in a still from '3 Faces'

The last of the Cannes Diaries 2018: When all else fails, you can find me at the movies

E. Nina Rothe May 28, 2018

It was the best of times, it was the worst of times. Actually, this edition of the Festival de Cannes turned out to be a missed opportunity, for media and juries alike to truly take charge of the #TimesUp movement and make of it a lasting course instead of a passing trend. Yes, there were stairs filled with women in pretty dresses, there were hotlines that we could call if we felt threatened or harassed, but ultimately the big prizes went to the big boys. As they have for every edition of the festival, except once, in 1993 when Jane Campion made history as the first and only woman to win the Palme d’Or. 

Yet personally, I loved Cannes more than ever this year. I had a soft place to fall, in the form of a wonderful group of friends I spent my free time with, eating dinners we cooked together and drinking our morning coffee back at our cozy apartment with one breathtaking view. I mean, just look at the Disney fireworks for 'SOLO: A Star Wars Story' display from our terrace!

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In Cinema, Festival, The Diaries Tags Cannes, Festival de cannes, Cannes Film Festival, Jane Campion, TimesUp, Palme d'Or, SOLO: A Star Wars Story, Nadine Labaki, DPA gift lounge, Nathalie Dubois Sissoko, Nandita Das, The National, Capharnaum, caramel, refugees, Amir Naderi, selfies, Asghar Farhadi, Marriott Hotel, Carlton Hotel, Jafar Panahi, 3 Faces, Iranian cinema, Arab cinema, Iran, Abu Dhabi Film Festival, Dubai International Film Festival, UAE Pavilion, DIFF, CNN, Inside the Middle East, Saudi Arabia, Italian cinema, Italy, Marco Bellocchio, Gianni Zanasi, La Lotta, Troppa Grazia, Lucia's Grace, Alba Rohrwacher, La Strada dei Samouni, Stefano Savona, Euforia, Valeria Golino, Dogman, Matteo Garrone, Alice Rohrwacher, Happy as Lazzaro, Lazzaro Felice, Italian politics
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Nadine Labaki on the set of 'Capharnaum', photo by Fares Sokhon

Nadine Labaki on the set of 'Capharnaum', photo by Fares Sokhon

My thoughts on women's rights, Nadine Labaki's 'Capharnaum' and the Saudi presence at this year's Cannes Film Festival

E. Nina Rothe May 22, 2018

The winner of the Palme d'Or has been announced and predictably, it's still a male-directed project. There are too few opportunities for us women around and when one of us seizes the chance, we must deal with men (boys?) putting up passive aggressive resistance all the way, and other women trying to take us down.

So, in my humble opinion this "5050X2020" movement which culminated as a red carpet moment may be fun to say and bound to light up with feminine glamour the famous staircase in Cannes, but it is not going anywhere until we aggressively and definitely take up our rightful place.

And yes, call me angry, go ahead. Make my day.

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In Cinema, Festival, The Diaries Tags Cannes Film Festival, Festival de cannes, Cannes, 5050X2020, Nadine Labaki, Capharnaum, Saudi Film Council, Saudi Arabian pavilion, Saudi Arabia, arab cinema, John Travolta, Saudi Film Collection, Short Film Corner, Don't Go Too Far, Film School Musical, Haifaa Al Mansour, Maha Dakhil, Maram Taibah, Ahmad Al-Maziad, driving ban in Saudi, Maan and Talha B., Happy as Lazzaro, Alice Rohrwacher, women filmmakers, Fares Sokhon, Palme d'Or
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Window of Emporio Armani in Cannes

The Cannes Diaries 2018: Everyone has their own story

E. Nina Rothe May 11, 2018

This year the festival holds a lot of promise. Arab cinema is at its center with an unprecedented two films in Competition, Nadine Labaki's 'Capharnaüm' and Abu Bakr Shawky's 'Yomeddine', while there are of course quite a few other titles sprinkled among the sidebars, including Mohamed Ben Attia's 'Weldi'. A newly formed Saudi Film Council is occupying a harbor-side pavilion and offering wonderful panels (including one on Sunday the 13th at 11 moderated by yours truly and featuring Annemarie Jacir, Haifaa Al-Mansour, Lamia Chraibi and TIFF's own Cameron Bailey) as well as much welcomed Arabic coffee and dates. When I dropped by on a late afternoon I really cherished that cardamom and saffron infused shot of Arabia and the hospitality brought me back to my days in the Gulf.

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In The Diaries, Festival, Cinema Tags Palestine, Saudi Arabia, Capharnaum, Nadine Labaki, Elia Suleiman, Cannes Film Festival, Festival de Cannes, Hany Abu Assad, Annemarie Jacir, Yomeddine, Sheherazade, Saudi Arabian pavilion, DPA gift lounge, Abu Bakr Shawky, Mohamed Ben Attia, Weldi, Lamia Chraibi, Cameron Bailey, Critics Week
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Following the Dubai International Film Festival, Where Does Arabwood Go Now?

E. Nina Rothe February 6, 2018

“Are you ready for us to make history again?!”

As I stepped into one of the magnificent Majlis — literally translating as a “place of sitting” from the Arabic — a meeting room inside the Madinat Jumeirah complex to catch up with the Chairman of the Dubai International Film Festival, Abdulhamid Juma uttered those words. I was taken aback for a moment and then I remembered that throughout the six years I’ve attended DIFF, I’ve sat down with him and together, we’ve come up with some of best questions about Arab cinema, its place in the world and its importance in dispelling stereotypes and breaking down walls. 

This year, I came to DIFF with a heavy heart and I leave it still wondering if all the efforts — personal and collective have been worth it. We’ve witnessed how easily the mighty of the film stratosphere can be taken down in Hollywood when no longer of use to their business partners, destroying careers that should be looked at with respect, regardless of these men’s questionable behavior. We seem to have forgotten that “the casting couch” is a term as old as the movies themselves. Now we just “throw out the baby with the bathwater” as the old saying goes...

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In Cinema, Festival, Interviews, The Diaries Tags DIFF17, Dubai International Film Festival, Dubai, Arabwood, Abdulhamid Juma, Arab cinema, Cate Blanchett, Sofia Coppola, Greta Gerwig, Wajib, Annemarie Jacir, Mohammad Bakri, HH Sheikh Mansoor bin Mohammed bin Rashid Al Maktoum, Muhr Awards, Palestine, Elia Suleiman, Hany Abu Assad, President Obama, Sanjay Leela Bhansali, Oscars, Saudi Arabia, Haifaa Al Mansour, IWC Filmmaker Award, Saad Hariri, Masoud Amralla Al Ali, Shivani Pandya, women filmmakers, women film journalist, Dubai Film Market, women journalists
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PHOTO BY VITTORIO ZUNINO CELOTTO/GETTY IMAGES FOR DIFF“In Conversation with Morgan Spurlock” at this year’s Dubai International Film Festival

PHOTO BY VITTORIO ZUNINO CELOTTO/GETTY IMAGES FOR DIFF

“In Conversation with Morgan Spurlock” at this year’s Dubai International Film Festival

The Dubai Film Festival Diaries: Swarovski, Morgan Spurlock, ‘The Man Behind the Microphone’ and Cinemas in Saudi by 2018

E. Nina Rothe February 6, 2018

What is heritage and how important is our connection to the past in shaping who we will be in the future? And if our ideals seem to clash with what our leaders are encouraging, or we simply can see beyond the chaos — are we right? Or does that make us just different... Those are all questions that have come up in the last 48 hours for me, at this year’s Dubai International Film Festival.

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In Cinema, Festival, The Diaries, Fashion Tags Dubai, Dubai International Film Festival, DIFF17, Swarovski, Morgan Spurlock, The Man Behind the Microphone, heritage, Madinat Jumeirah, Grace Jones, Philip Treacy, Marilyn, Michael Jackson, Sabrina, Breakfast at Tiffany's, Audrey Hepburn, Alexandra Byrne, Super Size Me 2: Holy Chicken!, The Greatest Movie Ever Sold, Rats, One Direction: This is Us, USA, Big Chicken, Saudi Arabia, cinemas in Saudi, Arab cinema, UAE, VOX, AMC, Claire Belhassine, Hédi Jouini
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A still from Rok Biček’s ‘The Family’

A still from Rok Biček’s ‘The Family’

The Locarno Film Festival Diaries: ‘The Family’, Struggles of ‘The Poetess’ and ‘A Letter to the President’

E. Nina Rothe February 5, 2018

Away from the main competition films featured in the Locarno Film Festival are two important sidebar sections which are filled with works of art worthy of the numerous audiences who attend their screenings. La Semaine de la Critique, Critics’ Week, and the Open Doors programs offer each and separately a fresh insight into modern groundbreaking filmmakers who will be the future maestros of our times. With Open Doors that even goes beyond the films we are watching on the big screen now, but bear with me before I get to that.

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In Cinema, The Diaries Tags cinema, Locarno Film Festival, The Family, The Poetess, La Semaine de la Critique, Open Doors program, Locarno Critics' Week, Rok Bicek, Olivier Assayas, Pakistan, Afghanistan, Bangladesh, Nepal, Myanmar, Sri Lanka, Nadia Dresti, Druzina, Slovenia, Yulia Roschina, Stefanie Brockhaus, Andreas Wolff, Saudi Arabia, Hissa Hilal, Arab poetry, Middle East, Fatwas, A Letter to the President, Roya Sadat
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