Sherief El-Azma's and Hassan Khan's videos have bite. Nur Elmessiri finds energy
"Well-intentioned," as in William Blake's "The road to Hell is paved with good intentions," is the last thing brought to mind by Hassan Khan's and Sherief El-Azma's 14 (...)
Eid time is cinema time. Nur Elmessiri joins the throng
Whoever she was, Blanche Dubois -- of Tennessee William's play A Streetcar Named Desire on which is based Ali Badrakhan's film Al-Raghba (Desire), released last week -- did not hang around her (...)
SHEIKH Yassin El-Tohami, performing in Cairo this week, is one of Egypt's finest munshids, a singer of devotional songs (madih) that praise the Prophet Mohamed and that serve, above and beyond such praise, to enable the remembrance of Allah, writes (...)
Mohamed Khan's Ayyam El-Sadat grants Nur Elmessiri a glimpse of the terrifying power and glory
"I was a hair's breadth away from the noose," a young Anwar El-Sadat released from solitary confinement, charged with collaborating in the assassination (...)
Nur Elmessiri sees both loveliness and its flipside in Ekram Mohamed Omar's textile works
Birds and trees, when embroidered and colourful, take us to Akhmim -- a visual framework that could constitute a mental point of departure from which to launch (...)
From 15 March, and for 10 days, Cairo is to become a veritable visual arts feast: the Ministry of Culture-sponsored Cairo Biennale at the Centre of Arts, the British Council-sponsored London Nomad exhibition at Beit Zeinab Khatoun, a seminar on (...)
By Nur Elmessiri
Four children in school uniform hold hands. They are smiling. They are Palestinian. On the wall past which they walk are spray-painted the words "Israeli peace means killing children".
As with many of the colour photographs taken by (...)
By Nur Elmessiri
Take by storm the film-viewer's consciousness, keep him at the edge of his seat in terrible suspense, tease his thoughts, open his eyes, provoke him, Khaled Youssef's directorial debut Al-Asifa (The Storm) does not. Lubricate the (...)
By Nur Elmessiri
Hieronymous Bosch would not have felt uncomfortable at Palestinian poet Mahmoud Darwish's readings last week. He would not have wondered: What does the crucifixion or the blood of martyrs have to do with a conference hall at a Cairo (...)
By Nur Elmessiri
We never come empty to what we see. A twisted torso belonging to a young man with a defiant, determined grimace, eyes looking up high as if to a giant, stone in one hand, when frozen into image, matted and framed -- when stolen from (...)