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The video Transit by Taysir Batniji tackles the issues of borders. The Palestinian artist presents a silent slideshow, made up of photographic images, that he made clandestinely at border passages between Egypt and Gaza. The photographs of people waiting are alternated with black screens, metaphors for emptiness and the passing of time, reflecting the difficult and often impossible conditions of mobility for today’s Palestinians. The video addresses notions of travel and displacement as well as the situation of being between two cultures and identities.

The “CittàGiardino” centre for immigrants is closing. There are only six teenagers left in the house. They have all arrived from Africa, walking through the desert, or risking their lives by boat across the sea. Now they are there stuck in the Sicilian hinterland, waiting desperately for a visa that might not come at all or a transfer directive. Thus, the days begin to look all the same. Sleeping, eating, and toying endlessly with their smartphones hoping that something might happen in one way or another. And the feeling of being like a trapped animal or a prisoner grows increasingly stronger. But Sahid does not like to wait anymore, idling around, while time slows down excruciatingly. With the help of his friend Farouq he plots an escape plan.

Mesteka, a seventy-year old Moslem widow, and Rehan, a sixty-seven year old Christian widower, are neighbours. Their busy children hardly ever visit them now. Mesteka and Rehan get used to monotony, loneliness, and isolation and fashion their lives accordingly,until tragedy gives way to comedy.

Ali's Dad, brought An Argentina Maid to the house, for a change, but Ali starts falling in love with the maid.

Taking the idea of loss and dispossession as a starting point, this film is a reflection on photography and its people. It looks at the position of the individual within the context of war and displacement, as well as how photographs have become the sole record of that displacement, at the risk of them being dispersed as well. The film takes us on a journey from the point of view of a reproduction stand and a white backlit frame on which stories of war and loss unfold, from photographer Van Leo talking about the Armenian genocide of 1915 to the funeral of the assassinated Lebanese political leader Maarouf Saad filmed with a Super 8 camera in Saida in 1975. Between them, accounts of displacement and struggle of Palestinians are told through the photographs of Astra Abu Jamra, Samiyyeh Khairi and Abdel Salam Ujayli.

A melancholy song, full of hope and longing, reverberates in The New World, guiding us through the lives of Lebanese immigrants Amer and Sana Khaddaj. Ghalia Elsrakbi and Lauren Alexander use archival material to collect stories of ordinary people of Middle Eastern descent, bringing us a fresh look at what it means to be displaced.

Shows the ruination of film heritage in Lebanon, navigated through the country’s cinematic heydays in the late 1960s and early 1970s. This period witnessed a rise of Egyptian producers and directors moving to Lebanon to make films partly due to Nasser’s nationalization of Egyptian cinema.

The film depicts the last days of eastern Aleppo’s siege. Just before its fall, Milad Amin, residing in Beirut, follows up with his friend Ghith, an activist and photographer, who like so many other civilians still remains in the besieged city. Following Ghith via his camera through the ruins of the city, we hear the two friends talk about people’s situations while waiting for their fate amidst the fighting parties. The film is an intimate and personal recording of civilians’ sufferings during this time of siege, hunger, and war – and a recording of both the relationship of activists brought together during the civil movements and of the geographic distances that separate them due to violence, bombing, and killing.

Between his fiancee and his passion for a married woman, Karim's vision of life will be transformed.

The narrative thread in Taysir Batniji’s video is a telephone conversation between the artist located in France and his mother located in Gaza. Starting from this intimate, fluctuant, fragmented, difficult and sometimes indistinct exchange, the artist questions the resonance of words like displacement, in-between and exile. Through a triple point of view, Ma mère, David et moi explores how to look at one’s home from elsewhere and how to establish connexions by combining narration, souvenirs, impressions, the personal story and information documents.

The life of St. Marina AKA Marinus (Marinos)

He works as a football coach at Dokki Sports Club but does not succeed in making any significant achievements in his career, which makes Habashi not agree to marry his daughter Osha (Bossi), but he has a last chance .

A MEMORY IN KHAKI is a cry out for that which is embattled inside the spirits of individuals who lived under the oppressive Syrian regime. The auteur's personal narrative is interwoven with those of other Syrian characters who were forced, because of their political beliefs, to leave the country before or after the revolution. The film sheds light on years of silence, fear and terror, and it dives into the stories, which were behind the eruption of Syria’s society and the start of its revolution. It is a Syrian account, which, by laying out the past, tells the story of the future.

In a working class suburb of Cairo, Egypt, where lives are intertwined and everybody knows each other's business, thirteen year old Fingo wants to hang lights in his street for Ramadan. Many in his neighborhood try to dissuade him, or say it's not possible. This makes him more determined, but he only has two days, and the obstacles he faces seem insurmountable.

The All-Hearing shows two local sheikhs delivering sermons on noise pollution in Cairo at the artist’s request. This unorthodox intervention into the sonic landscape of the ‘loudest city on Earth’ followed on from the military regime’s attempts to restrict such sermons to government-sanctioned topics (that week, the Prophet’s Ascension to Heaven). Cutting between close-ups of the sheikhs’ idiosyncratic addresses and wide shots of their congregations and the loudspeakers amplifying their voices in the streets outside, Abu Hamdan’s images show how the sheikhs’ message is disseminated in a way that contradicts its content.

'Ibn al-'Amm' shed light on the eighteen years Riyad al-Turk spent as a political prisoner under Hafez al-Assad, before his son Bashar al-Assad imprisoned him for two years at the beginning of his reign.