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The final scene is utterly harrowing—an unforgettable descent into darkness. Damage isn’t just the title; it’s a warning. By the end, it doesn't just leave a mark—it leaves you shattered.

Love stories from the pre-internet and pre-social media era have such a unique charm. I really cherished the atmosphere and the warmth of family gatherings.

I’ve always had a soft spot for this film—I first saw it on MBC back in the early 2000s when I was too young to fully grasp its depth. As I grew older and revisited it with a more critical eye, I felt a need to rewatch it—almost like I was searching for answers, wondering if Léon ever crossed a line with Mathilda. Watching it again, I came to see that he was simply a guardian, not a threat. That realization brought me a strange sense of peace. Both leads are incredible, but it's Mathilda who really stands out—unbelievably good for her age. Their chemistry gives the film its lasting power.

So I rewatched the movie—again—because I vaguely catching it once on MBC ages ago, but for the life of me, I couldn’t recall the plot. First off, I absolutely love the whole vibe of the film—those dreamy visuals and the soundtrack? Chef’s kiss. Secondly, I swear I need to visit Spain at least once in my life. The architecture, the atmosphere, the food, the football—literally everything about that country speaks to my soul.
As for the story, it’s pretty good—it really captures that chaotic blend of American impulsiveness and European “let’s-talk-about-our-feelings-over-wine” energy. A beautiful mess, basically.
Now, let’s talk about Scarlett Johansson. That woman is a walking temptation. Like, if she walks past you, just forget about heaven—it doesn’t matter if you’re a monk or a saint. She’s got that charm that should honestly come with a warning label.
And then there’s Penélope Cruz—sin number two. I adore her. She’s stunning, intense, and has this wild magnetic energy that makes you forget whatever you were doing before she appeared on screen.
Lastly, a little note to Woody Allen: The male gaze? Oh, it’s not just present—it’s practically doing backflips. It feels like the entire film was him living out the fantasies he couldn't pull off in real life, so he just directed them instead.

Wow—just wow. This is exactly the kind of cinema I love. Every minute held my attention without a single dull moment. The setting in southern Italy was stunning; there’s something special about that Mediterranean atmosphere shared by the surrounding countries. The performances were powerful—each actor truly embodied their role, bringing the director’s vision to life. The story itself was beautifully told and incredibly realistic, especially given the ongoing challenges faced by immigrants arriving in southern Europe, striving to make their way north by any means, often while trying to avoid capture.

Honestly, I only watched it for Adèle Exarchopoulos — and no regrets there. She's absolutely brilliant, effortlessly talented, and knows how to act. Like, really act. The movie itself? Not bad at all. I didn’t walk away questioning my life choices, so that’s a win.
Now, Vicky — the tiny homophobe — she stole the show in her own chaotic way. She was on a mission, and you could tell by every dramatic eye twitch and awkward pause. Girl had a plan.
And of course, a massive thank-you to Léa Seydoux for delivering the most iconic, emotionally unstable, and perfect lesbian counterpart to Adèle.

Bringing up such a subject in the Middle East was undeniably audacious. The notion that electroshock—or any ritualistic approach—could resolve this is not only misguided but also ignores the fundamental complexities involved.

Gonna tell my kids this was As'ad AbuKhalil.

To find oneself witnessing the collapse of a familiar world under the crushing force of a massive production machine—one that cannot be matched no matter how strong or capable one is—is to be rendered “outside the realm of life” itself.
Capitalism: when a person sells their life in exchange for bread.

Gaslighting taken to a whole new level.

اختيار الاغاني رهيب

It is deeply disheartening to see how our countries, rich in history, culture, traditions, and heritage, and blessed with some of the best climates year-round, still fail to provide a decent quality of life for their people. Nations like Palestine, Syria, Lebanon, Iraq, Egypt, and Iran possess an unparalleled historical legacy and immense potential, yet living in them is a constant source of stress—even over the most basic necessities.
I truly wish we could lead normal, peaceful lives among our families, free from the perpetual anxiety that any moment could bring new challenges capable of disrupting our well-being and mental health. I often compare our struggles with those of people in other countries, and the contrast is striking. While others worry about advancements and personal aspirations, our concerns revolve around securing fundamental human rights—basic necessities that should be guaranteed, not privileges to fight for.
Ultimately, I have come to the painful realization that living in such conditions is an endless cycle of exhaustion, draining us in every possible way. Some may call this perspective selfish, but we only live once, and we owe it to ourselves—and to future generations—to pursue lives of dignity, stability, and opportunity.
بالنهاية بحب عيد واكتب الحوار الي صار بينهم لما قالتله بتعرف أوقات بتفكر من طيزك رد عليها وحكالها بس طيزي حلوة, ما هيك؟

One thing I love about Spanish movies is how quickly the events escalate—there’s never a dull moment. And what fascinates me even more is that within every plot, there’s always another plot unfolding, keeping you constantly engaged.

Every time I tried to watch it, I never made it to the end. After 30 minutes, I’d pause, get distracted, and drift into something else. But this time was different. A heavy cyclone raged outside, and I was home alone—no electricity, just a dim table lamp running on battery and my laptop’s fading charge.
I’ve always loved movies about high school—the struggles, friendships, family tensions, and moments of self-discovery. There’s something about them that feels familiar, like revisiting a chapter of my own life. Whenever I need a cozy, relatable film, this genre is my go-to.
And Lady Bird? It was incredible. I loved her attitude and her raw, unfiltered reactions. It felt real. I’m so glad I finally watched it to the end, and now I can’t wait to find more movies like it.

Denzel Washington’s character was incredible, both in his younger and older years. I really enjoyed the story and the movie.
Reflecting on the film and my personal experiences, I’ve noticed that the caste system still exists in some communities, even in 2025. Social divisions can impact relationships, including marriage and friendships, as some people avoid interacting with those from lower castes. This has led some individuals to seek alternatives, such as converting to Islam, which promotes equality regardless of background.
One personal experience that stood out to me was when I was sitting with an Indian friend, and my Nigerian friend ed by. I invited him to us, and my Indian friend quietly remarked, “Wow, he is so black.” After seeing me interact with him multiple times, she later commented that my family had raised me well—simply because I didn’t let race or appearance influence my friendships.
Additionally, I’ve observed that some individuals from South Asian backgrounds hold a sense of superiority over Africans, which may be linked to deep-rooted social structures. While these attitudes don’t reflect everyone, they do highlight the lasting impact of historical divisions.

رح ضل عيده مرة ومرتين وتلات
فيروز معجزة ...تخيل يكون في قاسم مشترك بينك وبين واحد قواتي الا وهو حب فيروز... هاد اعجاز بحد ذاته

التمثيل ضعيف جدا جدا جدا
والله احتراما لخالتو جولييت عواد كملته

Not that deep.

I watched the movie out of curiosity about life and the atmosphere in Tokyo during the 90s and early 2000s. The film was captivating and visually stunning, but I feel that Tokyo’s allure is most magical from a distance. Up close, the excitement, ion, and idealized image you’ve built in your mind might fade, as life in Japan can be challenging and, at times, a bit unusual. To preserve the enchanting image I have of this country, I’d rather ire it from afar or visit briefly to experience its charm without delving too deeply into its complexities.

يا رب طول بعمركل الجدات والامهات
نقطة ضعفي الحجات

The greatest of all time. Every year, on October 3rd, I relive the magic, savoring every moment as if it were my very first watch.

I am deeply grateful to the Aflamuna platform for offering us such valuable documentation free of charge. My heartfelt appreciation goes out to everyone working behind the scenes to make it possible

While the film showcases breathtaking locations, I found myself feeling disengaged during the actual viewing.

White girls just doing their whity thing—this 2003 aesthetic hits like a nostalgia bomb, crafted with a level of intentionality that screams 'director’s vision.' The camera moves are dramatic, the locations vibey, the music moody, and the colors? Oh, it’s giving official druggie movie palette. And let’s not forget the outfits—they’re straight out of a 2006-2009 Syrian soap opera (Kidding). Peak vibes, honestly.
Last but not least, if they’ve accomplished all this by the age of 13, what on earth are they going to do with the rest of their life? I can’t help but think back to when I was 13—just a literal kid with zero grand plans, just wanting to play and soak up the fun of being young.

This movie doesn’t quite capture the magic of Christmas as one might hope (Christmas isn't Christmasing in this movie). I dove in without reading the description or watching the trailer, drawn solely by Cillian Murphy's captivating performance and the promise of stunning Irish countryside draped in the charm of the holiday season. While the pacing left me feeling a bit detached at times, the film’s earnest attempt to shine a light on meaningful causes and for victims made it a worthwhile watch.

أجمل الأمهات التي انتظرت إبنها…
أجمل الأمهات التي انتظرتهُ,
وعادْ…
عادَ مستشهداً.
فبكتْ دمعتين ووردة
ولم تنزوِ في ثياب الحداد

لم تَنتهِ الحرب
لكنَّهُ عادَ
ذابلةٌ بندقيتُهُ
ويداهُ محايدتان….
***
أجمل الأمهات التي… عينها لا تنامْ
تظل تراقبُ نجماً يحوم على جثة في الظلام…

لن نتراجع عن دمه المتقدّم في الأرض
لن نتراجع عن حُبِّنا للجبال التي شربت روحه
فاكتست شجراً جارياً نحوَ صيف الحقول.
صامدون هنا, (صامدون هنا) قرب هذا الدمار العظيم,
وفي يدِنا يلمعُ الرعب, في يدِنا. في القلبِ غصنُ الوفاء النضير.
صامدون هنا, (صامدون هنا) … باتجاه الجدار الأخير

I still watching it back in 2008—it was my very first time experiencing a movie in the cinema. It was the first day of Eid Al-Fitr, and I went with my brother and cousins to see it. I thoroughly enjoyed the film and have to it, Makunga really knows how to live the pampered life! He is really مدلل مدغشقر
*بأكسنت عراقي*

A stark reminder: the massacre of the Palestinian people did not begin on October 7th, 2023. This is not just a historical reflection but an ongoing reality of life under Israeli occupation. The struggle persists, unchanged, and will remain so unless the occupation is eradicated entirely. Like a malignancy, it requires more than superficial measures to be addressed effectively—it demands decisive and comprehensive action to eliminate it at its root.

Breaking news: I'm hopelessly, undeniably, head-over heels in love with Emilie.

I revisited it, now that it’s available on the Aflamuna platform. There’s something magnetic about watching films set in Amman, the West Bank, or Al-Nazareth—not all of them, but the ones that resonate—just to maintain a connection to these places, even while living abroad for so long. It feels like being caught in a toxic relationship with these places. I keep coming back through these films, compelled to witness their stories and to check the pulse of their reality. Yet, the truth is, much of my own pain and trauma stem from these lands, and all I ever see is the same unchanging struggle, with things only growing worse.

Rashid Masharawi’s direction carries shades of Asghar Farhadi’s style, trapping characters in complex moral dilemmas under the relentless pressure of time. The acting might not shine, but for me, the pull of these films isn’t about performance. It’s about glimpsing the streets, the dialects, the people—anything that ties me back, however fleetingly, to the essence of a place I cannot let go.

- عم يتقاتلوا فوق روسنا
* مين هنن؟
-الإسرائيلية والسورية
* مين منن معنا؟
- ما حدا
Tell me the script was written by an isolationist without outright saying it. The excessive edginess and cringe-inducing attempt to portray everything happening around you as irrelevant or unrelated to you reeks of avoidance. The idea that neutrality somehow provides immunity from chaos and destruction is not only naïve but also demonstrates a troubling level of detachment from reality—or outright ignorance.

I find it refreshing and rare to see a drama that explores women's desires during menopause (سن اليأس), shedding light on the challenges of this phase while also emphasizing the importance of embracing and enjoying life before it's too late. I vividly recall watching this film in 2007 on the TV5 channel. Nadia’s performance left a lasting impression on me; her talent and the depth she brought to the role are truly commendable.

رهيب العمل والأرهب انه ركز على الطبفة المتوسطة من المجتمع السعودي ومشاكلها الا نادرا ما بنشوفها بالاعلام والسوشل ميديا.
وحاول يسقط كم مشهد منه على الفيلم Taxi Driver التصوير كان رهيب مع انه المخرج مبين انه متأثر شوي

ياخي أهل الناصريييي ما حد فيهم صاحي الكبير قبل الصغير

A charming and calming film with a simple story and breathtaking cinematography.

Visually stunning

اول ما شفته تزكرت ال meme تاع
"ماني بعبد ابوك
لا تنهى ولا تآمر علي"

I’m not entirely sure what happened, but I felt an unusual sense of discomfort throughout the entire viewing experience. It was as if something just didn't sit right, likely stemming from the animation style and the eerie, almost claustrophobic settings where the characters spent most of their time. The visual choices seemed to evoke a strange, unsettling atmosphere that lingered throughout.

Visually stunning and brutally intense in its storytelling, this is the first film in Park Chan-wook's Vengeance Trilogy. Two more powerful stories of revenge await.

A captivating and deeply heartwarming film, though the plot and ending were somewhat predictable.

تجنن الحجة

بسلي لا بأس به
بس الي بعرف نكتة الاسد والارنب يحكيلنا اياها

It’s beyond awkward watching these guys boast about their so-called “sexual conquests” while dropping the cringiest pick-up lines and spinning the most ridiculous lies to trick women into bed. Like, seriously, how do they even say that stuff with a straight face? And imagine if someone you know heard you talking like that — “انو مصمصتا وكزا” — the embarrassment would be unbearable! I can’t help but wonder if these guys are now married with kids, pretending they never acted like total sleazeballs.
And don’t even get me started on the guy in red. He’s so obviously a creep and a player; you can tell just by looking at him without him needing to say a word. The “سرسري” energy is real. But honestly, the song at the end? Hilarious. It’s so catchy it’s stuck in my head — I can’t forget it even if I tried!
عيدو من وراي:
بنشدوا بنمدوا بالحيط بنحطو
شديتوا مديتوا بالحيط حطيتوا... من كتر ما شديت طئطئ جسر البيت
لبس فستان الزهر قصدا تقهرني قهر وهب الهوا شوي وطئطئ جسر البيت

The film masterfully recontextualizes the same dialogue, delivering it thrice with refreshing nuance each time. I have an affinity for films that unfold multiple narratives or explore diverse characters within a single framework. Here, not only do the settings and nationalities shift, but also the situations, gestures, character dynamics, and gender representations evolve in a fascinating dance. This style of filmmaking has yet to disappoint me.
While I appreciated the anthology's core concept, I felt it was somewhat diluted by the repetition, as each segment offered a nearly identical storyline, albeit distinctively flavored by its respective city. The first vignette, set in the vibrant chaos of New York, encapsulates the quintessential American lifestyle. It portrays a character brimming with uncertainty, poised to dive into the unknown, all at a frenetic pace that mirrors the city’s heartbeat.
Transitioning to Berlin, we’re greeted by a European atmosphere marked by a palpable chill—both in climate and demeanor. Here, the inhabitants embody a certain detachment, often reluctant to engage with one another, evoking a sense of disconnection that is both intriguing and disconcerting.
Finally, the Tokyo segment bursts onto the screen, revealing a culture rich in imagination and eccentricity. This part is a true cinematic spectacle, showcasing the unique aesthetics that characterize Japanese cinema, from their bold fashion choices to the imaginative narratives that reflect a whimsical yet profound worldview. The creativity and flair of the Tokyo segment truly stand out, leaving a lasting impression that celebrates the extraordinary.

I can relate

It’s been a long time since I last watched a truly enjoyable movie. I was captivated by the film, especially by Madison’s effortless beauty. Her name suits her well, as she drives me mad with her allure. She is stunningly beautiful, and I believe anyone in Gary’s position would have acted the same—even Prophet Youssef wouldn’t have been immune to her charm.

I recognize that the Lebanese Civil War was an extremely harsh and brutal time, but I find a certain aesthetic quality in that era. The way people dressed, looked, sang, and lived under such challenging conditions is truly remarkable. Their lifestyle and dialect are deeply charming, and I hold them in high regard. Lastly, I want to commend Jean Khalil Chamoun for his work; he consistently produces masterpieces.

I watched the documentary yesterday and found it thoroughly engaging. However, one audience member made a particularly insightful comment that stood out to me: the documentary should have highlighted how the Hannibal Directive is responsible for most of the casualties on the !sraeli side. Additionally, the director noted in a discussion that many civilians either are currently serving or have served in the army and are always ready to be called up, although this point was not addressed in the documentary itself.

فيلم خفيف لطيف من افلام التسعينات حلو تشوفه بالبيت لما يكون التوقيت لشتوي وتكون مروح من الشغل قرفان مديرك وكل الي بتشتغل معهم وبدك شي خفيف لطيف تتسلى فيه

I absolutely loved it and experienced a mix of emotions while watching. Somehow, I felt a sense of belonging to that place and connected with their conversations. The lead actress was stunning and captivating in her simplicity. I also ired the cinematography and the soundtrack.