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Photo by Nour Annan In the absence of state-monitored public transportation, van #4 operates as a privately-owned informal “public transit” in Beirut. The van’s route begins all the way from the Lebanese University’s campus in Hadath to Hamra, carrying over 50,000 passengers a day.    I am picked up in Chiyah, next to the wall with bullet ears. This route has it all: burnt tires, an abandoned building calling out the names of dead dogs, wildflowers caught in gust. We are an unlicensed and unregistered van carrying one city. The door won’t slide and hajji has her toes stretched into air. It’s

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In its 10th edition, the biennial Ayam Beirut Al Cinema’iya took place from March 29 to April 6, 2019. The film festival has showcased, fostered, and defended Arab films made and conceived independently, however vague a definition that might be, for the past twenty years. Middle Eastern cinema has historically struggled on two fronts: the domestic one, in the fight against censorship; and the far more insidious international one. In the artistic flight from poor or inexistent funding and distribution circuits that favor commercial cinema (from either Egypt or the US), Arab filmmakers in many cases have had to rely

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