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2 items from 2013

Chadi Abdel Salem’s ‘The Mummy’ Tops List of 100 Greatest Arab Films

6 November 2013 7:52 AM, PST | Variety - Film News | See recent Variety - Film News news »

Rome - Egyptian director Chadi Abdel Salem’s 1969 dreamlike drama “The Mummy,” recently restored by Italy’s Cineteca di Bologna with support from Martin Scorsese’s World Cinema Foundation, tops the list of 100 Greatest Arab Films compiled by the Dubai International Film Festival, in a book based on input from hundreds of experts being touted as the first project of this type in the Arab world.

Films from Egypt feature prominently, with two Youssef Chahine-directed classics, “Cairo Station” and “The Land,” ranked at number two and number four respectively, and helmer Daoud Abdel Sayed’s more recent drama “Kit Kat” (1991) about a very observant blind man, weighing in at number eight. Egyptian director Tewfik Saleh’s 1973 “The Dupes,” which is about the Palestinian predicament and was produced by Syria’s National Film Organization, came in at number ten.

North Africa is further represented by Algerian helmer Mohammed Lakhdar-Hamina’s »

- Nick Vivarelli

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The 10 best Arab films

6 July 2013 4:00 PM, PDT | The Guardian - Film News | See recent The Guardian - Film News news »

Fifty years of movie magic, from Tunisia to Iraq, as chosen by Omar al-Qattan, film-maker and chair of Shubbak – A Window on Contemporary Arab Culture

The Night (Al-Lail)

Mohammad Malas, 1993

A great Syrian film. It is about the director's home town of Quneitra, on the borders of the Golan Heights, which was almost completely destroyed by the Israelis after the 1967 war and remains in ruins. The film is a historical-autobiographical epic of three generations, taking you from the Syrian fight for independence against the French in the 1930s, through the 1948 war with Israel, and into recent times. Malas is probably the most highly regarded living Syrian director – he is still based in Damascus as far as I know – and this film is heavily influenced by Tarkovsky in the use of long, contemplative dream and memory sequences where time is as important an expressive element as space, dialogue or movement.

The »

- Omar al-Qattan

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