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E. Nina Rothe

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Favorite movies only need apply. Life is too short to write about what I didn't enjoy. 

DFI's 2024 Fall Grants announcement includes projects by Youssef Chebbi, Sofia Alaoui, Mehdi Hmili and Anas Khalaf

E. Nina Rothe January 30, 2025

As well as a feature doc by Iraqi actress and filmmaker Zahraa Ghandour, a web series by Palestinian storyteller Amer Shomali, Damien Ounouri’s and Adila Bendimerad’s follow up to festival fave ‘The Last Queen’, and shorts by Qatari talents Mahdi Ali Ali and Majid Al-Remaihi.

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In Film, Features Tags Doha Film Institute, DFI, Grants Fall 2024, Youssef Chebbi, Sofia Alaoui, Mehdi Hmili, Anas Khalaf, Zahraa Ghandour, Amer Shomali, Damien Ounouri, Adila Bendimerad, Mahdi Ali Ali, Majid Al-Remaihi, Qumra, lgeria, Belgium, Denmark, Egypt, France, Iran, Iraq, Lebanon, Lesotho, Mexico, Morocco, Palestine, Spain, Tunisia, Fatma Hassan Alremaihi, Asmae El Moudir, The Mother of All Lies, Oscars, Bye Bye Tiberias, Lina Soualem, Amara, Michelle Keserwany, Camera Obscura, Viola Shafik, Rock Paper Sea, Randa Ali, The Good Spirit, Razan Madhoon, Gaza, In Memory of Times to Come, Larissa Sansour, Love-45, Minkaf, S.M. Al Thani, Plague, Selfless, Meriem Mesraoua, Tarfaya, The Joyful 1926, The Pearl, Noor Al-Nasr, Exile, Songs of Adam, Oday Rasheed, Spring Came On Laughing, Noha Adel, And Still I Rise, Djanis Bouzyani, Life After Siham, Namir Abdel, The Sixth Story, Ahmed Abd, Mother of Silence, My Armenian Phantoms, Tamara Stepanyan, Souraya Mon Amour, Nicolas Khoury, Souraya Baghdadi, Women of Sin, Noufissa Chara, Karima Nadir, Kir Mama, Kif Baba, B.A.H.R Alphabet, Sabine El Chamaa, A Lover’s Manifesto, Alfred Tarasi, Burden, Mohammed D. Fakhro, Amal Al Mutfah, Mohamed Megdoul, Valentin Noujaim, Youssef Michraf, Anissa Daoud, Maryam Al-Mohammed, Ethel Elmalik, Yassine Wahrani, Fahd Al-Nahdi, Obada Jarbi, Natural State, Men Home La Hon, Marie-Louise Elia, Julien Kobersy, Jean-Claude Boulos, Nadine, Christophe Saber, Druze, Visions of the After: Dark Cedar, Ali Hamouch, The Walled Off Hotel, Sleepless City, Guillermo Garcia Lopez, The Reserve, Pablo Pérez Lombardini, Fatna a Woman Named Rachid, Hélène Harder, Once Upon a Time in Shiraz, Hamed Zolfaghari, The Last Shore, Jean-François Ravagnan, Ancestral Visions of the Future, Lemohang Jeremiah Moses
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A still from ‘The Translator’ directed by Anas Khalaf and Rana Kazkaz

A still from ‘The Translator’ directed by Anas Khalaf and Rana Kazkaz

The Uncertainty of Everything: 'The Translator' by Rana Kazkaz and Anas Khalaf at Tallinn Black Nights

E. Nina Rothe November 28, 2020

While there have been loads of documentaries about Syria and its place in the Arab Spring revolutions of 2011, no narrative film has even come close to the way ‘The Translator’ tells the story. A complete story that goes as far back as the first Syrian revolts in 1980 under Bashar al-Assad’s father, Hafez which resulted in the Hama massacre in 1982. The filmmakers telling this spellbinding story are husband and wife team Anas Khalaf and Rana Kazkaz, both multi-hyphenated nationalities but at the center of it all, Syrian. Because let’s face it, there are currently many more Syrian living spread out around the world than in Syria itself.

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In Film, Film Festivals, review Tags The Translator, Rana Kazkaz, Anas Khalaf, Syria, Arab Spring, Damascus, Bashar al-Assad, Hafez al-Assad, Australia, Ziad Bakri, Sydney Olympics, Miranda Tapsell, David Field, TIFF, Toronto International Film Festival, Tallinn Black Nights Film Festival, Vimeo Premium, Mare Nostrum, Carlos Chahine, Ramzi Maqdisi, Annemarie Jacir, Magali Negroni, Eric Devin, Catherine Cosme
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