Middle East

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Hello, My Name Is: Abu Dhabi by Melissa Gronlund
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Deepak Unnikrishnan’s Temporary People and the fantastical realities of life in the Persian Gulf

Portfolio by Jungjin Lee
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From Unnamed Road, 2010–15, a series of photographs taken in Israel and Palestine.

Brian Oakes by Anya Jaremko-Greenwold
Jim Foley Bomb 4

“If you can’t go to church, and the only way you can pray, or connect to your god, is through another process, then that becomes the thing you do.”

Adam Broomberg and Oliver Chanarin by Sabine Mirlesse
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When I arrived in London this past September to meet Adam Broomberg and Oliver Chanarin at their studio, the first thing we discussed was the power play between interviewer and interviewee.

Orwa Nyrabia by Pamela Cohn
Silvered Water Syria Self-Portrait

Civil war, exile, and documentary as art.

On Silvered Water, Syria Self-Portrait by Nicholas Elliott
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Discovering a cinema of civil war.

Cherien Dabis by June Stein
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Dabis wrote her film Amreeka, in theaters now, in response to her family’s Arab-American experience. An immigrant’s tale, the search for a better future in the Promised Land is full of seismic changes.

Shirin Neshat’s Our House Is on Fire by Anna Della Subin
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For the new series, Neshat turned to the revolution in Egypt, to which she became an inadvertent witness while working on a film about the empyrean Egyptian Umm Kulthum.

Eyal Weizman’s The Least of All Possible Evils by Legacy Russell
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It was Eyal Weizman’s collaboration with fellow architects and geopolitical theorists Sandi Hilal and Alessandro Petti that first caught my attention years ago and incited my enduring admiration.

Label by Sean Madigan Hoen
Winner of the 2011 BOMB Fiction Prize,
Judged by Rivka Galchen
Postcards from Kabul: Nathalie Handal by Ram Devineni

In this discussion, Nathalie Handal tells Ram Devineni of her experiences in Afghanistan as well as explaining where her fascination with the written word originally came from.

Samuel Maoz’s Lebanon by Montana Wojczuk
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Samuel Maoz made Lebanon to make sense of his own experiences as a soldier in the Lebanese war of the 1980s. Montana Wojczuk assesses the film and addresses the gestation period for clear narratives that deal with traumatic events in history.

Raja Alem by Tom McDonough
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“What does ‘exile’ mean in a globalized world? To feel you’re an exile, you have to have a country you belong to.”

I’Jaam: An Iraqi Rhapsody by Sinan Antoon

This First Proof contains a passage from I’Jaam: An Iraqi Rhapsody.

Nichole Argo and Omar Amanat
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Producer Omar Amanat speaks with author Nichole Argo on her groundbreaking study, The Human Bombs Project.

Marjane Satrapi’s Peresepolis 2: The Story of Return by Victoria Ludwin
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Marjane Satrapi’s wry and matter-of-fact memoir, Persepolis: The Story of a Childhood(Pantheon Books, 2003), was met with great acclaim throughout Europe, the United States, and the world—everywhere, that is, except her native Iran.

The War in Iraq, International Center for Photography by Lucy Raven
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As the American occupation of Iraq drags on despite recycled timelines and White House reassurances, the timing of this show (which opened on the day of the Madrid bombings) felt unsettlingly right. 

Benjamin Hollander’s Rituals of Truth and the Other Israeli by Ammiel Alcalay
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Ammaiel Alcalay describes Benjamin Hollander’s new book, Rituals of Truce and the Other Israeli as a book laden with philosophical and cultural references that lace the story together.

Jehane Noujaim’s Control Room by Bette Gordon
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Documentary filmmaker Jehane Noujaim invites viewers into both Al Jazeera, Arab-language satellite television, and CentCom, the US military news center, for two very different media portrayals of the 2003 US invasion of Iraq.

Bride of Angels by Maryam Mortaz

Shoka slipped the ticket into her coat pocket and left the cinema. 

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