Film

We asked Jemma Desai from I am Dora, which returns to the ICA this Saturday, how it all got started. Here's what she told us...

Béla Tarr is a director who divides the field. He makes slow, stark films about lives in which little happens.

Our cinema programmer Jo Blair recently caught up with Gerry Fox, director and co-screenwriter of new film Mother's Milk.

As part of a yet-to-be-defined project, A Nos Amours has begun thinking around the idea of 'pop-up' in collaboration with Ella Harris; a theorist fascinated by what has recently been termed "The Temporary City".

After last week's fascinating Q&A sessions with Mother's Milk director Gerry Fox, we're excited to have three special guests joining us this weekend to discuss their latest films.

Our associate curator of artists' film and moving image Steven Cairns, speaks to Mark Webber, curator of the Experimenta strand of this year's 56th BFI London Film Festival.

The Legend of Kaspar Hauser, the story of a nineteenth century man who claimed to have been raised in total isolation.

This is the final blog post by guest blogger Malu Halasa, Writer in Residence for Safar: A Journey though Popular Arab Cinema, a season of classic and contemporary Arab cinema at the ICA from 21 – 27 September 2012.

Following the interwoven lives of eight characters, Kamla Abu Zekry's compelling ensemble film One-Zero (Wahed-Sefr),takes place on the eve of the Egypt v Cameroon match in the 2008 Africa World Cup Final.

In the 1993 film, Terrorism and the Kebab (Al-irhab wal-kabab), building and architecture are more than just backdrops.

After a 15-year-long civil war, one way Lebanese artists reflected on the experience was the use or subversion of documentary archives to somehow suggest an alternative reality.

Diana Vreeland: The Eye Has to Travel is both an intimate portrait and a vibrant celebration of one of the most influential women of the 20th century.

Few Arab musicals have ever attempted to tread the ground of Bosta, a film about the aftermath of the Lebanese civil war, exile, lost love and the generational struggle between tradition and modernity.

Alexandra, Why? (Iskanderija... lih?) won the Silver Bear Special Jury Prize at the 1978 Berlin Film Festival and for good reason. Its greatest strength lies in that it reveals a history not readily known in the West.

Safar: A Journey Through Popular Arab Cinema, a season of classic and contemporary Arab cinema at the ICA