Omar Aloulou

Nada is a young woman leading a double life. During the daytime she’s quiet and reserved, but after dark she dives into the nightlife of Tunis and picks up men. First, she lets them tell their stories – as she doesn’t speak, she acts as a kind of confidante – then beats the hell out of them. When a new colleague, Noura, arrives at her workplace and Nada finds a mythical knife at the home of one of her victims, events are unleashed over which Nada has less and less control.

Extremism slices through a Tunisian family with the realization that their teenage son has become an ISIS fighter.

Many films have dealt with immigration over the past two decades, but most have dealt with it from the point of view of the immigrant or the place where the migration took place. Sara Abuidi’s Benzine deals with the issue from the point of view of those who stayed behind, through the eyes of parents who have not heard anything about their son for nine months since he moved to Italy. Salem and Halima are looking for their son who went missing a few months ago. He illegally immigrated to Italy a few days after January 14, 2011. The couple is pursuing a relentless and desperate quest that disrupts their existence. The film takes place in the South, an arid and austere landscape, a deep Tunisia where contraband and socio-political tension rub shoulders

On the surface Sarra leads an average life, the one her mother has planned out for her: the young Tunisian is taking sewing classes and preparing for marriage to a young man. But deep inside she is concocting a plan to escape this life – as BLACK MAMBA

Young Tunisian Hedi lives an ordered life in which he believes there can be no more surprises. His future will play out as other people have planned, until he meets a young woman named Rim at a hotel in Mahdia Hediand. An ostensibly personal story broadens into a panorama of a society in upheaval, an allegory about breaking away from traditions. And a film about the happiness and pain of freedom.