If you're reading this expecting to hear praises about the jewelry in Abu Dhabi, the wonder that is Burj Khalifa in Dubai, or the beauty of Arabian horses, you'll be disappointed. I'm all about cinema from, in and about this region and my personal gems were collected during the Gulf Film Festival, which was held in Dubai's Festival City from April 10th to the 17th. Read on for a list that is definitely not in order of importance but proved for me cinematically life-changing. Wadjda U.S. audiences will get the chance to watch this masterpiece in the fall, when Sony Pictures Classics will finally release Wadjda -- not a moment too soon. But the full meaning of Haifaa al-Mansour's touching, worldly film about so much more than a girl yearning for a green bicycle was best summed up by Gulf Film Festival Chairman Abdulhamid Juma when he confessed, "to me personally Wadjda is a dream." He went on to explain the undeniable importance of the film by saying, "what I love about Wadjda is it really touches very sensitive issues that a lot of people would not even wish to talk about -- not only one, many, many issues -- without confrontation." I found myself as touched by it, if not more the second time around and catching up with the film's generous, delightful filmmaker at the opening night screening kicked off the festival just right. Bani Adam While I remember Wadjda for all the right reasons, I perhaps will always hold a special place in my heart for Bani Adam, for some wrong ones. It's destined to be one of those films audiences watch again and again, creating its own cult following in the process, similar to what the American film The Room has done in the decade since it was released. The third feature by Emirati filmmaker Majid Abdul Razak, Bani Adam turned out to be the great conversation starter at GFF, undeniably imprinted in everyone's mind. And yes, it is so unusual that nearly everyone I asked watched it both times it screened during the festival. Masoud Amralla Al Ali Dubai International Film Festival and GFF Artistic Director Masoud Amralla Al Ali is a wonderfully refreshing combination of poet, mentor and inspiration. While his impressive figure may at first seem intimidating, his warmth and naturally encouraging ways put me at ease, the very moment our conversation started. His insights into some of the films screened in the festival allowed me to view them in a different light and at times, that light of reason changed my mind. Also, I'll never forget his hospitality at the closing night ceremony, as he greeted guests on the red carpet, and so welcomingly shook my hand, ensuring a magnificent end to a fantastic festival. For more gems, check out the full piece on The Huffington Post.

Sooni Taraporevala's film Little Zizou -- which can be watched for free these days on Hulu -- always makes me yearn for my first true love: Bombay. Because Little Zizou represents the perfect template of the city known to outsiders as Mumbai but beloved by insiders forever as Bombay, the craziest, most chaotically beautiful place on earth, the one single spot that invades my senses and dreams even as I write this, lands away and miles apart. While it is ideal for cinema to transport its audience to other worlds, it's not often that a film manages to do it quite as well as Little Zizou. The story is wonderfully simple: Xerxes (played by Jahan Bativala), or "Little Zizou," is a young boy who prays to his late mother to send his soccer idol Zinedine Zidane on a visit to Bombay. His elder brother Art (Imaad Shah, who is also featured in Mira Nair's The Reluctant Fundamentalist) is a prolific cartoonist, a romantic with a fantastic imagination and a group of friends determined to achieve the nearly-impossible, while the boys' father Khodaiji (played by Sohrab Ardeshir) is a religious leader of sorts, with prophetic aspirations and a flair for the dramatic. Because of Khodaiji's fanatical convictions, the boys spend most of their time at the home of their father's archrival, Boman Presswala (a treat for lovers of Indian cinema as he's played by Boman Irani, a beloved star), a principled newspaper man with a loving, kind wife Roxanne (played by Zenobia Shroff) and two girls. While Art pines for the elder one, the younger Liana (Iyanah Bativala) resents the presence of Xerxes, who is tended to with care and attention by her mom. It is a modern fairy tale, with a story as old as love itself. Little Zizou does tell a story that is unmistakably woven into the tightly knit Parsi community to which Taraporevala herself belongs, but this film is also about any child with a deep sense of longing for his mother, any teenager trying to grow up in a world where dreams are difficult to hold on to, any woman who has enough love in her heart to spread to more than her biological children and any man who believes that the freedom of speaking the truth is worth fighting for, at any cost. Far from ever preaching or teaching, Taraporevala manages to infuse the film with humor and charming inside jokes, like the newspaper headline at the beginning of the film declaring "The Namesake wins Oscar for Best Film!" Yes, because while Little Zizou is Sooni Taraporevala's directorial debut, she is best known as the screenwriter of such Mira Nair hits as Salaam Bombay, Mississippi Masala as well as adapting Jhumpa Lahiri's The Namesake for the big screen. Ever since sitting in the audience for the unforgettable film's premiere in 2008, I've come to spend quite a bit of time with Taraporevala and her wonderful family. Turns out the Taraporevalas and Bativalas (both Jahan and Iyanah, who play the central characters in the film, are the filmmaker's children in real life) are even more fantastically brilliant than the characters of Little Zizou, but watching the film comes in a close second. For a great interview with Sooni Taraporevala, check out the full piece on The Huffington Post.

Left to right: Deborah Mailman, Jessica Mauboy Miranda Tapsell, Shari Sebbens in The Sapphires I'll admit, I love a good myth. And when the myth involves Cannes, a feel-good film about a culture I'm yet unfamiliar with and Harvey Weinstein, my fancy is tickled to the max. Of course, those infamous words uttered to an LA Times journalist, who then tweeted about them -- "Harvey Weinstein just grabbed my arm and said: 'Have you seen The Sapphires? The Artist just happened again" -- have since been retracted, but for me the legend remained. And that legend carried mighty high expectations. Which brings me to the fact that I hardly expected to be sitting in a giant theater in the Middle East watching a film about Aboriginal heroines in war-time Vietnam and yet The Sapphires, at the Dubai International Film Festival, worked in that environment so well, and in every way. The film in itself turned out to be all that I wanted it to be and more. More entertaining, more instructional, more humorous and so deeply heartfelt that I now understand its path to glory, conquering legions of fans in Australia and around the world. Started as a journey down his family's memory lane for writer Tony Briggs, the film was the perfect followup to his award winning hit play in Australia by the same name. During a magical afternoon, while sitting on a terrace in Madinat Jumeirah with birds chirping all around us, I caught up with The Sapphires handsomely understated director Wayne Blair and beautifully smart actress Shari Sebbens, who plays Kay. They shared their thoughts on the film, what it means to be an Indigenous Australian and why sometimes it's good to want to be Ralph Macchio. READ THE INTERVIEW ON THE HUFFINGTON POST

Questo articolo intitolato "Zaytoun: Un film come antidoto al veleno della violenza" è stato pubblicato su l'Huffington Post Italia. Per vedere il pezzo originale, cliccate qui. Ho visto per la prima volta l'importantissimo nuovo film del regista israeliano Eran Riklis durante il festival del cinema a Toronto. Era sul mio radar personale da parecchio tempo, questo Zaytoun ("Olivo" in lingua araba) perché tutti i precedenti film di Riklis sono titoli che si trovano in posizioni alte sulla mia "hit parade" personale di film favoriti. Da Il giardino di limoni, a Il responsabile delle risorse umane, a La sposa siriana, Riklis racconta sempre storie oneste, semplici, ma piene di speranza per noi, la razza umana. Al di là di questo mondo diviso da una mentalità assurda come "loro contro noi", Riklis offre una cinematografica boccata di aria fresca. Alla proiezione di Zaytoun sono rimasta entusiasta -- e in lacrime. A parte la chemistry fantastica fra i suoi due protagonisti, Stephen Dorff, sempre brillantemente minimalista nella sua interpretazione di Yoni, il pilota dell'aeronautica israeliana e Abdallah El Akal, l'attore giovanissimo ma ultra bravo nel ruolo di Fahed, il suo compagno di viaggio (umano e proprio) palestinese, Zaytoun offre una soluzione per i problemi del nostro mondo imperfetto. Sarò un'illusa, ma io vedo sempre nel cinema uno strumento per educare a rispettare anche quello che è strano e estraneo, diverso da noi. Introducendo la presentazione del film a Toronto, il regista ha ammesso che a lui piace fare film che aiutano ad "eliminare l'ira e poi ci fanno riflettere e riesaminare". Durante la nostra intervista, ho chiesto al gentile, e simpaticamente sexy Riklis se anche lui crede nel potere istruttivo dei film, data la sua predilezione per questo cinema con coscienza. Lui ha risposto che anche se "il cinema non può cambiare il mondo, i film ci possono far pensare". La trama di Zaytoun è semplice -- una storia di due arcinemici che vengono uniti dal loro bisogno di tornare a casa. Per Yoni (Dorff) casa è lo stato riconosciuto dell'Israele, con una moglie incinta che lo aspetta, una casa, un lavoro affascinante, anche se pericoloso. Per Fahed (El Akal) invece casa è un villaggio che forse non esiste neanche più, una ricerca per la Palestina che non è più individuata sulle mappe mondiali, per piantare un albero che apparteneva alla sua famiglia quando vivevano lì, prima delle decisioni politiche che hanno cambiato la vita di tutti i Palestinesi. Dietro le quinte, la storia di Zaytoun è altrettanto interessante. Scritto da Nader Rizq, uno scrittore Palestinese che ci ha messo vent'anni a vedere il suo lavoro portato sul grande schermo, diretto da un Israeliano, il film sembra mostrare per esempio come arrivare alla pace. Rizq e Riklis, che possono anche rappresentare Yoni e Fahed in qualche modo, sono stati uniti dal produttore inglese Gareth Unwin, vincitore dell'Oscar per Il discorso del re. A Toronto, il settembre scorso, il film è arrivato in seconda posizione per il desiderato "Audience Choice Award" cosa non facile considerando il numero di film di qualità che hanno partecipato a TIFF nel 2012. Poi, dopo i festival, come anche quello del British Film Institute a Londra, i premi, e le lodi, il film sarà visto nei cinema di tanti paesi, fra cui Israele, Germania, Inghilterra, Olanda, Giappone, Turchia, Australia, Polonia, Francia, Svizzera, Finlandia, Scandinavia, Portogallo, Austria e Nuova Zelanda. Però negli USA e qui in Italia, il film non ha trovato distribuzione... In America, il New York Times ha scritto un articolo riassunto dal festival del cinema di Dubai, dichiarando che la produttrice Cindy Le Templier ha detto "non vogliono vedere film sulla Palestina" riferendosi ai distributori nel mondo arabo. Quasi un pezzo che giustifica la scelta americana di ignorare un film così importante. Forse negli USA il film sembra scomodamente provare che la lotta senza fine fra i Palestinesi e gli Israeliani non è poi l'unica via. Qui in Italia, dove il cinema mondiale è tanto amato, e i film più importanti degli ultimi anni sono stati distribuiti con grande successo, non capisco proprio che cosa sia accaduto. Tutti i distributori forse hanno letto quel pezzo sul Times? Comunque quello che so per sicuro è che noi, il pubblico, siamo pronti a messaggi sinceri, film fatti dal cuore e spettacoli con significato, diversi da quelle macchine mediatiche che masticano notizia solo per creare controversie. Quelle che forse non vogliono un film così insolito, così importantemente pacifico. O forse le conversazioni sono andate così: "Uno scrittore palestinese, ma chi lo va a vedere, e poi con un regista dell'Israele, come lo spieghiamo, è problematico il fatto" fra i direttori delle case di distribuzione che come giocatori di pallacanestro negati, hanno fatto cadere la palla. Speriamo che un giorno, presto, lo possa rivedere al cinema in Italia almeno, questo film che a me mi ha cambiato la vita. OK, forse non la vita, ma la visione del mondo di sicuro. Foto di Eitan Riklis ©2012, usata con permesso del fotografo

On a recent trip to Dubai, I sat next to two invasively gigantic men, who took up way beyond their assigned seat in width, and vocal tone. Arms flailing, conversing excitedly about the most idiotic things, just so they could be heard (and worst, seen) their every movement annoyed me. I admit, on a plane, I need calm. But instead of getting up and bopping them upside the head, which turned out to be a strange fantasy game I played out in my head, I turned to the entertainment system in front of me, and found solace within Bradley Cooper. If a man can wear a garbage bag this well, he can basically sell me the NYC phone book on film. Yet strangely enough, Cooper is not only stylish and good looking, but also talented at picking interesting, soulful projects in which to star. On the way over, while I sat next to the two Neanderthals, I watched The Words and on the way back, lounging back and eating chocolates while no one in sight annoyed me, I watched Silver Linings Playbook. Both excellent films, both great excuses to watch some serious male eye candy, albeit with magnificent acting skills. So, this week, Cooper is my style icon. Not a woman this time, but someone equally at home -- and strangely stylish in each -- wearing Hefty or Armani. And don't even get me started on how eagerly I'm awaiting the next installment of The Hangover... Watch the new trailer for The Hangover 3 on the HUFFINGTON POST

It is said that girls are always looking for a knight in shining armor -- and perhaps that's true. But from the looks of a few recent cinematic projects, it seems we are all, men and women alike, looking for a superhero. In a current Kickstarter campaign -- which was brought to my attention by recent interview and artistic maverick Sultan Saeed Al Darmaki -- filmmaker Brett Culp delves into the wonder of Batman and all the great positivity the superhero has always inspired in kids, big and small, everywhere. Culp's fascinating documentary is titled Legends of the Knight and offers a touching look at how the myth of Batman helps heal and triumph, even in sometimes seemingly impossible situations. And by the looks of how many current Kickstarter campaigns feature superheroes, I'd say Batman, Spider-man and the likes are definitely here to stay as man's favorite fantasy confidants. At the Dubai International Film Festival back in December, I watched Bekas, a film about two young orphaned brothers living in Kurdistan during Saddam Hussein's rule. Zana and Dana are children of the land made infamous by Hussein's atrocities, but they lean upon the legend of an unlikely ally to help them survive their difficult surroundings and miserable situation: Superman. Or, as the brothers call him, "Zooperman." When they surreptitiously watch the superhero in action through a hole in the wall of their local cinema, they decide to go to Amrika (America) to find Superman and live within the shelter of his super life. "Does Zooperman have a father?" One asks the other. "Yes, his name is Super Dad!" (Continued) Read the entire piece on the HUFFINGTON POST

There are two outstanding events that shaped a personal Italian renaissance for me in 2012. One was interviewing the great Nanni Moretti in his office, after having been mesmerized by his latest film We Have a Pope at the Abu Dhabi Film Festival. The other was watching the Taviani brothers' Caesar Must Die at the Nuovo Sacher in Rome, on a balmy Sunday afternoon, and being so absorbed that I never once regretted foregoing the glorious sun shining outside for the cool, dark cinema hall. Incidentally, both of those incredible experiences ended up being courtesy of Moretti, who not only owns the Nuovo Sacher in Rome's cool neighborhood of Trastevere but also believed so strongly in Caesar Must Die that he picked up distribution rights in Italy through his Sacher Distribuzione and in so doing, turned the film's destiny downside up. Before Moretti, Paolo and Vittorio Taviani had struggled with finding a distributor who would give their return to filmmaking, after five years of absence, a chance. Yes, the very masters whose best known Padre Padrone is still considered one of the cornerstones of Italian cinema, had been ignored by the often short-sighted distributors in a country that once ruled the culture of movies. Caesar Must Die of course then went on to win the Golden Bear at last year's Berlinale, cementing Moretti's artistic visionary status, as well as the film's great, contemporary value. CONTINUED ON THE HUFFINGTON POST

Groundbreaking is definitely an overrated word these days. Yet there are some instances when nothing else will do. Haifaa Al Mansour's Wadjda for example, is a film that demands the multiple use of this word. It is an unprecedented first film shot in Saudi Arabia, by a Saudi female filmmaker. It is also a simple human tale of a girl yearning for a green bicycle, yet when one delves deeper, the film uncovers a world of women -- strong, independent women who know what they want yet still have to navigate the intricate rules of Saudi society to be accepted. For a daughter who grew up with a single mother, Wadjda hits all the emotional buttons. I may have walked in looking worthy of a gala presentation at the Dubai International Film Festival this past Wednesday, but I definitely walked out with mascara smudged down my cheeks and still half sobbing from the ending. The film is being distributed in the US by Sony Pictures Classics and has already opened theatrically in Europe. Interviewing Wadjda creator Al Mansour was one of the main reasons I wanted to be at this year's DIFF and in person, she does not disappoint. Petite, intelligent and so gloriously humble, I sat with the talented groundbreaking filmmaker for a talk I will never forget. To read the interview, check out the Huffington Post.

There are three definite yearly milestones when it comes to film festivals in the Gulf. While they all collectively fulfill my innermost desire that cinema help unite our worlds and make us embrace our differences, each organization does it in its own way. The Abu Dhabi Film Festival is where foreign language Oscar contenders seem to find their wings, encouraged by the welcoming arms of the Abu Dhabi audiences and organizers, who truly make cinema magic. Then there's the Doha Tribeca Film Festival, which is finally focusing on its true roots and during their fourth edition allowed yet undiscovered talents of Arab cinema a well deserved platform. But of the three, the Dubai International Film Festival is the one which most resembles Cannes -- just to make an uncomplicated comparison -- with its stellar line-up, the unrivaled industry attendance and the deals created during its marketplace. With DIFF there is as much going on away from the star-filled galas, the glamorous parties and the sold-out screenings, if not actually more. In fact, a lot of the deals of what we'll all be watching in world cinema in the years to come are forged during DIFF. (Continued) See the entire piece and a slideshow of my personal favorites on the Huffington Post.

There are two dates that are crucial to all Palestinians. The first is 1948, when the Arab-Israeli War displaced the first wave of perpetual refugees during a time known as the Nakba -- "the disaster." The second is 1967, when those Palestinians living in the West Bank and Gaza were also unsettled by the Six-Day War, families were forever separated and a new Palestinian exodus surged. But there may be a third date to add to Palestinian history, this time a positive marker of great things to come. In 2013 the Palestinian state may acquire non-member "observer state" status at the UN which would mark a day when, in the words of veteran Palestinian negotiator Saeb Erekat, "life will not be the same." This coming year could also see the first Palestinian entry on an Oscar short list and quite possibly an Academy Award for Best Foreign Film going to Annemarie Jacir's When I Saw You. Yes, her film is just that good and with Iran withdrawing, the members of the Academy should be looking for a new milestone. If it sounds like I'm gushing about Jacir's film, don't be mistaken, I am. I've been a huge fan of her work since watching her first feature two year ago. Salt of this Sea was beautiful cinema, with a strong, angry and perfectly right to be so heroine. But her latest, When I Saw You, is cinematic poetry, the perfect blend of stunning cinematography, humanly portrayed characters and a story that hits you with an immediate gut reaction, yet colors your dreams and inhabits your thoughts for days to come. Perhaps my deep-rooted love of Jacir's work stems from the fact I believe that as individuals, all we really want in our heart is to belong and to be understood. While most filmmakers explore this basic human craving with stories about lovers and romance, Annemarie Jacir has always hit closer to home for me, journeying through the plight of the displaced. And anyone who has ever left their home behind, for however long or by whatever reasons, cannot be left unmoved by Jacir's films. Read the entire post with Annemarie Jacir's interview on the Huffington Post.