Hanna Flint is a freelance film and TV critic, writer and interviewer who writes for The Guardian, Total Film, Time Out, Syfy, Yahoo Movies, SyFy and other international outlets.
Film review: A tense, nervous energy runs throughout Moroccan director Kamal Lazraq’s moody debut Hounds, a compelling drama set in Casablanca about a father and son duo tasked with a kidnapping that ultimately goes wrong.
The 2023 London Palestine Film Festival is taking place during a critical time, as Israel's bombing of Gaza and the shrinking space for Palestinian expression highlights the importance of asserting Palestinian identity through cinema and creativity.
Film review: Whilst Jeymes Samuels's 'The Book of Clarence' is a refreshing departure from the stuffy, whitewashed Biblical films of the past, it nonetheless fails to hit the mark.
Film review: Iranian-Australian director Noora Niasari's latest film is an engrossing personal narrative about a young Iranian mother and her daughter fleeing domestic abuse who find shelter in a women's shelter in Australia.
Film Review: A gripping feature on social justice, Mehdi Fikri's latest offering is a snapshot of French xenophobia, told through the lens of a grieving sister struggling to get justice for her brother killed at the hands of the police.
Film Review: We Dare To Dream, which played at this year’s Tribeca Film Festival, follows the stories of young refugee athletes from Iran, Syria, South Sudan and Cameroon who competed together on the Refugee Olympic Team at the 2020 Tokyo Olympics.
Jude Chehab's debut film deep dives into the hidden mysteries of the Al-Qubaysiat, the secretive Muslim women's organisation. Premiered at Tribeca Film Festival, the documentary reveals how her mother and grandmother became entangled with the group.
2022 has been a ground-breaking year for films and filmmakers from MENA. In this yearly round-up, The New Arab takes stock of some of the best films that have come from the region, from drama to documentary.
Film Review: Premiered at this year's edition of the Cannes Film Festival, Youssef Chebbi's second film follows a series of dark, unexplained murders in Carthage. As the film unravels, we learn that the murders serve as a metaphor for revolution.
Film Review: Black Adam is a return to Hollywood's homeostatic position: cultural insensitivity. The film resorts to broad brushes when the Other is concerned yet champions those who are invariably cast and moulded to the Western palette.
