Mira Awad

It all began on one night, when Lily arrived at her therapist's house asking for an emergency session. She wants to explain why she killed her family.

Beirut, 1982: a young Palestinian refugee and an Israeli fighter pilot form a tentative bond in their attempt to make their way across war-torn Lebanon back to their home.

An examination of the creation of the state of Israel in 1948 through to the present day. A semi-biographic film, in four chapters, about a family spanning from 1948 until recent times. Combined with intimate memories of each member, the film attempts to portray the daily life of those Palestinians who remained in their land and were labelled "Israeli-Arabs," living as a minority in their own homeland.

The pro-Palestinian, anti-capitalist, BDSM-provocative, techno-punk performance art ensemble Hatari unsurprisingly drew attention to themselves with their performance at the Icelandic qualifiers for the Eurovision Song Contest. So much so that they won and therefore were allowed to perform at the main event in Tel Aviv. But what now? Should they boycott the event, swallow their idealism, or use their airtime to criticise the host country for their illegal occupation of Palestine? The Icelandic director Anna Hildur joins the boys in the band all the way to the fateful final.

Between the years 1950-51 close to 130 thousand Jews left Iraq. The most ancient community in the world ceased to exist.

Acclaimed director Michel Khleifi's story of a Palestinian film-maker 'M' living in Europe, who returns home to Ramallah to film witness accounts of the 1948 Nakba - not only explores the events of that tumultuous era, but places them in context with the uncertainty and tension of present-day Palestine. Over the course of a single day and night, M's solipsistic existence is shaken when his nephew kills a man in Nazareth, placing the entire family at risk of reprisals. This masterful feature - a quietly witty, complex and occasionally surreal depiction of an exile's relationship with Palestine - marks a new direction in Khleifi's work.