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E. Nina Rothe

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The Diaries, because sometimes life needs more. 

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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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Lessons learned from cinema and beyond: a wrap-up of the Rome Film Festival

E. Nina Rothe November 7, 2019

There were films, fashion and public conversations with cinema celebrities. But beyond the red carpets, this year's Festa del cinema di Roma proved a meeting point for understanding the world around us, and sharing thoughts with like-minded people from faraway lands. Here is my personal diary of a wonderful event held in one of the most beautiful cities in the world.

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In Cinema, Festival, Fashion, The Diaries Tags John Travolta, Festa del cinema di Roma, Rome Film Festival, Roma, Greta Garbo, Martin Scorsese, Nicolas Bedos, Ron Howard, Edward Norton, Motherless Brooklyn, Bill Murray, Wes Anderson, Antonio Monda, Bret Easton Ellis, White, 1982, Oualid Mouaness, Qumra, Doha Film Institute, Arab cinema, Netflix, The Irishman, Filmuforia, The Best Is yet to come, Olivier Assayas, Getty images, Judy, Swarovksi, Laura Biagiotti, Ralph Lauren, Maria Tilli, Very Ralph, Viola Davis, Meryl Streep
Fatma Al Remaihi, CEO of the Doha Film Institute, flanked by the managing team of the Ajyal Film Festival

Fatma Al Remaihi, CEO of the Doha Film Institute, flanked by the managing team of the Ajyal Film Festival

Doha's Ajyal Film Festival aims to make educated audiences out of today's youth

E. Nina Rothe November 5, 2019

I believe wholeheartedly that we are what we watch. It’s been my mission to find works of art on the big screen — and on the little one now through Netflix and the likes — that will make life better. I mean, we can all remember that moment, as children, walking out of a theater having watched our favorite character or cartoon on the big screen and feeling an extra bounce in our step. I still experience that these days, whenever I watch something really special. I walk out of the darkened theater into the light of day — as a film writer most of my viewings are done during the day — feeling like anything is possible.

So when the Doha Film Institute kicked off their Ajyal Film Festival in 2014, I went to Qatar to experience the wonder first hand. It was everything I hoped it would be, children and young adults as juries, films that although made for all ages, could really infuse younger minds with a message of peace and hope. You know, an idealist film writer’s dream come true.

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In Cinema, Festival, The Diaries Tags Qatar, Doha, Doha Film Institute, Ajyal Film Festival, youth, Elia Suleiman, This Must Be Heaven, karak chai, Oualid Mouaness, Amjad Abu Alala, Jason Silva, Gitanjali Rao, Chace Crawford, Kris Hitchen, Sundance TV, Kiyoshi Kurosawa, Arab cinema, 1982
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