"For a collective censorship, for an oppressive mentality, making films about politics that seem very progressive, very revolutionary is much more comfortable than making films that question you, as a human being. And that's where the real censorship lies." Meeting Yousry Nasrallah face to face is a true luxury. Not because the Egyptian filmmaker makes himself precious -- quite the opposite really -- but because Nasrallah's extraordinary insight, languid expression and sensual voice all combine to create the most perfect conversation. Sitting across from him in the Dubai sun, during the recent Gulf Film Festival, I couldn't help but imagine that he'd always occupy the seat at the head of the table in any personal "who would be your dream dinner party guest" scenario. With music playing, the breeze of the air conditioning from the bar's open doors cooling down the sweltering desert air and the smell of scented tobacco wafting from the hookah lounge next door, it all seemed like a mirage, a culturally stimulating, wonderful mirage. This was not my first time interviewing Nasrallah, but during our other talk -- at last year's Abu Dhabi Film Festival where his latest film After the Battle screened -- I remembered him as being more mysterious, somewhat cryptic. In Dubai instead I found an open, generous and (forgive my impertinence) bewitching man, perhaps because the artificial familiarity of Twitter had helped me to believe I understood him and his work more. Putting aside religious beliefs, I'll never forget Nasrallah's touching words on the day Pope Benedict XVI left the pontificate: "Pope lands in Castel Gandolfo. When a man declares himself unable to lead, and resigns, he becomes truly great and an example to follow." But ultimately, it all boils down to Nasrallah being a complex man of many layers, much depth and inspired heights. I would hope to interview him a thousand times, and his words will keep cinema alive forever for me, similarly to the stories of The Arabian Nights, which he himself so masterfully reset into contemporary Cairo for the film Scheherazade, Tell me a Story. When asked to describe himself, Nasrallah said "Film maker, a good one." Could not have put it better myself. Read Yousry Nasrallah insightful interview 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.

Sitting in conversation with Abdulhamid Juma, the Chairman of both the Dubai International Film Festival and the Gulf Film Festival, is a film-lover's dream come true. It's unique to find a perfect businessman who is also full of inspirational insight and possesses an infectious passion for cinema. Juma exudes an undeniable belief in the motto that has driven DIFF since its inception in 2004: "Bridging Cultures, Meeting Minds." But perhaps what surprised me most about our meeting during this year's GFF is Juma's availability, and his generosity of time. He's ever present, accessible for filmmakers, festival insiders and press alike, filled with gems of wisdom to enlighten and inform. And his words, his enthusiasm always betray a deep connection to his life's mission, to build cinema in the Gulf, one film, one story, one filmmaker at a time. Though perhaps abridging Juma's vision to fit within a couple of paragraphs may prove an impossible task, I tried it here in my Huffington Post feature anyway. Image courtesy of the Dubai International Film Festival, used with permission

Ever wonder how this world of ours would be if we supported and promoted artists instead of wars and arms dealers? My guess is pretty great, and although it is within the nature of man to pick a fight from time to time, we would at least be surrounded by great art, beautiful cinema and glorious written word at those times when scuffles prove necessary. Personally, I always look to the Arab world for artistic inspiration, pioneering individuals and groundbreaking initiatives. Probably because I've learned first hand from my travels through MENA that away from the media propaganda, the hate mongering and the catastrophic-sounding headlines, without fail I've found a semblance of beauty and culture in places like the United Arab Emirates. Not to be disappointed, it is again within that world, more specifically in the Emirate of Abu Dhabi, where I found a modern-day patron of the arts, an exceptional human being who has made it a point to support young, indie artists in all disciplines and give them the financial wings necessary to fly. We are kidding ourselves if we believe that art is just about inspiration these days. It's a business and only those who understand that can cross the line from hobby to masterpiece. When I first meet Sultan Saeed Al Darmaki on a terrace in Dubai on a crisp January morning, I'm pleasantly surprised at how kind, cool and welcoming he is. Being on the receiving end of his ideas is an interviewer's dream come true, since Al Darmaki sounds like what I imagine Paulo Coelho must have sounded like at his age. He is handsome and very, very smart, always of course in the wonderfully humble way of the Arab world, and equally at ease wearing a traditional Emirati kandoora or jeans and a t-shirt. 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.

Do you believe in magic? I do, because I have experienced it inside the home of master illustrator Eduard Erlikh. "My personal must-haves are light and space. In NYC, both are considered an extravagance," declares Erlikh. And indeed, this welcomed luxury is exactly what the visitor experiences when stepping into Erlikh's loft on the Bowery. On a particularly chilly NYC afternoon, I step into his building after the chaos of downtown, and then out of his private elevator. I'm instantaneously transported to another world: a minimalistic, fairy-tale land where things harmoniously sit where they belong, objects in different shades of pigment blend in creative and complimentary combinations and space does not appear to be at the typical premium it is in the Big Apple. Erlikh's passion for color, particularly pink, is evident, but instead of its palette exploding in an overkill of visual stimulation, a few choice pieces of his exquisite illustrations hang over the sofa, in the exact shade of rose that Diana Vreeland was thinking of when she declared, "Pink is the navy blue of India." The Moscow-born Erlikh is tall, boyishly handsome and dressed in jeans and a red t-shirt when we meet. He wears a red baseball hat, which he alone can manage to transform into a chic accessory, and he speaks in an hypnotizing, soft voice with a lovely Russian inflection. He is the elegant complement to the world he has created with his illustrations, a place where life is always sophisticated and people ever graceful. "He is a master of the moment, and that is why it is impossible to tear your eyes from his works: you fear you might miss something despite being in the midst of the action." Those words, taken from the website of international gallery Lumas, brilliantly describe the feeling one gets while getting lost in his illustrations. The world-famous Lumas recently started selling Erlikh's work -- his illustrations are featured on their homepage -- including pieces from his YSL Safari series and a stunning interpretation of a red Valentino dress. Erlikh's illustrations capture the ethereal quality of fashion, showing us the way these exquisite clothes are meant to be worn. To read the entire interview with Erlikh, as well as glance through some beautiful slides of his work, check out the Huffington Post. Top image courtesy of the artist

There are very few men who are equally at home at a gala in NYC, on the set of a blockbuster in Hollywood, in the front rows of Milan Fashion Week and around a souk in Riyadh. All the while looking equally elegant in an Armani suit, jeans and a T-shirt or a traditional Saudi thawb. Maverick producer Mohammed Al Turki is definitely one of the choice few who fit that bill. Handsome, young, powerful and with great cinematic instincts, Al Turki should be very high up on everyone's cool celebrity meter. The first time Al Turki crossed my radar was a little over a year ago, when I wrote about The Imperialists Are Still Alive!, a film that finally showed the kind of strong, independent and cosmopolitan Arab woman I know, having traveled -- and met a few -- throughout the Middle East and Europe. While this independent film may be a long way from his latest ventures, big Hollywood movies like Arbitrage and At Any Price, his talent for picking just the right project has been apparent from the beginning. To read the entire profile from my sit-down with Al Turki at the Abu Dhabi Film Festival, go to the Huffington Post. Image courtesy of the Abu Dhabi Film Festival

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.

"I need to digest your film, I hope you don't mind?" I hear myself saying this to the director and writer of one of the biggest red carpet premieres at this year's Abu Dhabi Film Festival. Sam Kadi is sitting across from me, asking me what I thought of his film, which screened the night before to a sold-out audience in the Emirates Palace theater. The film's basic synopsis tells the story of a Muslim Lebanese man who comes to NYC on a Green Card lottery visa, the day before the attacks on the World Trade Center. In fact, there are some films that leave you breathless at first sight and others that cover so many layers, have so much insight that it's simply impossible to stop thinking about them for days, weeks, perhaps months to come. Sam Kadi's The Citizen, starring Egyptian superstar Khaled El Nabawy and American screen legend William Atherton is a film that belongs to this latter category -- the kind of movie that fills your day thoughts and colors your dreams for a long time after viewing it. Perhaps the greatest quality of Kadi's film is that at first glance it may appear to give another insight into the mistreatment of Muslims in America after 9/11, yet soon enough the viewer discovers it's actually not that simple. Beyond the initial premise, The Citizen is a film tribute to a great country, to our slightly dusty "American Dream" and an homage by one of its adoptive Arab sons to the land he loves. Kadi could be Ibrahim, his lead character, but the even finer point here is that we all should be. As the caramel-skinned, flawlessly handsome Nabawy says, in his kind, fluid English with just a hint of indefinable accent, "If you want love, love first" and as a film, The Citizen shows us the way. For the full article and interviews check out the Huffington Post.

Zithromax Respitory Infection, Well, I have to say that there are some stars who are favorites of mine. It's typically those few, rare and special people who have a lot to offer to those interviewing them, and don't just stare dumbly at me while I ask the questions I really want to know their honest answer to. Zithromax Respitory Infection canada, Yup, I'm pretty simple that way, I only ask what I truly wish to know and if you are bright enough to offer something of a gem in the form of your answer, I will forever be indebted to you, and a huge fan, 40mg Zithromax Respitory Infection.

Freida Pinto is one of those exceptional actresses who not only looks gorgeous on the big screen, exudes sultriness and class in person but also knows how to give a great interview. She's honest, 10mg Zithromax Respitory Infection, smart and spontaneous enough so that no two talks will ever sound alike and every editor will feel like they got an exclusive. My kinda of girl, Zithromax Respitory Infection.

And she proved to be a bit of a lucky charm for me on several occasions, including recently when our talk from this year's Tribeca Film Festival, while she was in town to promote Michael Winterbottom's Trishna, became top photo featured on the HuffPo Culture page, 20mg Zithromax Respitory Infection. In case you are wondering, for a writer that's a lot like winning a million dollar lottery. A very big deal. 50mg Zithromax Respitory Infection, Here is the link to the piece on the Huffington Post. Do read it and feel free to comment and share it, while I bask in the glow of the moment. N-joy.

Similar posts: Cialis Professional No Prescription Lowest Price. Is Levitra Better Than Cialis. Erythromycin Opthalmic us. 30mg Buying Erythromycin Antibiotic.
Trackbacks from: Zithromax Respitory Infection. Zithromax Respitory Infection. 500mg Zithromax Respitory Infection. Zithromax Respitory Infection australia.