The documentary 'Diary of an Elephant Orphan' directed by Hermien Roelvert-Van Gils, explores the journey of Khanyisa, an orphaned albino elephant, and the challenges faced by orphaned elephants in Southern Africa due to poaching and habitat destruction. The film highlights the efforts of the Hoedspruit Elephant Rehabilitation and Development in South Africa, showcasing the emotional and physical rehabilitation of these elephants. The documentary emphasizes the role of human intervention in wildlife conservation, with music by Ben Willem enhancing the storytelling. The film is a poignant portrayal of the bond between humans and elephants, and the dedication of conservationists in preparing these animals for a return to the wild.

The article discusses 'The Mother of All Lies,' a documentary by Moroccan director Asmae El Moudir, which explores personal and historical traumas through creative storytelling. El Moudir uses artistic techniques to recreate memories of her family and the 1981 riots in Morocco, highlighting themes of loss, violence, and resilience. The documentary is noted for its innovative approach, blending personal narrative with historical events to address past traumas.

Furiosa: A Mad Max Saga, directed by George Miller, offers a fresh narrative perspective by focusing on the character Furiosa, played by Anya Taylor-Joy. The film delves into her backstory and motivations, contrasting with the previous Mad Max: Fury Road. Chris Hemsworth's portrayal of the antagonist Dementus adds depth to the character. The movie is praised for its visual effects, action scenes, and strong female lead, providing a rich cinematic experience.

The horror movie 'Tarot, The Death Card,' directed by Spenser Cohen and Anna Halberg, explores the ominous world of tarot cards as a group of friends encounter deadly consequences after using an ancient deck. Despite visually striking cinematography and strong performances, the film relies heavily on horror clichés, such as a group of friends in a creepy house and a cursed object, which detracts from its originality. The narrative, while engaging, is predictable, though it successfully creates thrilling moments and jump scares. Ultimately, the film offers an intriguing exploration of fate and mortality but falls short of delivering a unique storyline.

The Max Gang, an Egyptian film directed by Hossam Soliman, follows a similar plot to the American movie We're the Millers, involving a fake family smuggling contraband across borders. While the film attempts to distinguish itself with additional comedic elements, it lacks the depth and character development seen in its American counterpart. Despite this, the film offers entertainment through comedy, good acting, and songs by Ruby, making it a suitable choice for a light-hearted weekend watch.

Masinga The Calling, directed by Mark Engels, is a paranormal thriller that intertwines crime and black magic, focusing on the spiritual journey of Masinga, an African-born Interpol detective. The film, showcased at the Durban FilmMart, explores themes of sex trafficking and Asian exploitation of Africa's resources, albeit superficially, as it centers on Masinga's visions and past. The narrative is enriched by strong character development, impressive acting, and visual effects, though it leaves some questions unanswered about Masinga's clairvoyant abilities.

Arab cinema is making significant strides at the 77th Cannes International Film Festival, with films from Egypt, Saudi Arabia, Morocco, Palestine, and Algeria competing in various categories. Notable entries include Egypt's 'The Brink of Dreams' and 'East of Noon', Saudi Arabia's 'Noura', and Morocco's 'The Distant Sea' and 'Everyone Loves Touda'. Palestinian director Mahdi Fleifel's 'To a Land Unknown' and the short film 'Baad el-Shams' also feature. These films explore themes of societal challenges, artistic aspirations, and the immigrant experience, showcasing the diverse narratives and talents from the Arab world.

The film 'Fasel min el-Lahazat el-Laziza' directed by Ahmed el-Gendi explores the concept of parallel universes through the story of Saleh, a struggling engineer who discovers a portal to a world where he is a successful entrepreneur. The film contrasts the chaotic real world with a calm, orderly parallel universe. Hisham Maged and Hana el-Zahed deliver commendable performances as Saleh and his wife Dorria, portraying their characters' dual lives. The set design by Amr Salah effectively differentiates the two worlds, contributing to the film's comedic elements.

The article reviews the film 'Aserb (The Squadron)', which depicts Egypt's Air Force's retaliatory strike against the Islamic State in Libya following the massacre of 21 Copts. The film, directed by Ahmed Nader Galal, is praised for its cinematic quality, vivid drama, and accurate portrayal of the military operation. It features a strong cast, including Ahmed el-Sakka and Sherif Munir, and is compared favorably to Hollywood's 'Top Gun'. The film highlights themes of bravery and national pride, with a well-crafted script by Omar Abdel Halim and a compelling score by Amr Ismail.

The Egyptian Gazette reviews the film 'Flight 404', which follows Ghada el-Saeed's journey of repentance and self-discovery as she plans a pilgrimage to Mecca. The film, written by Mohamed Ragaa and directed by Hani Khalifa, explores themes of morality, judgment, and redemption. Mona Zaki's performance as Ghada is highlighted for its creativity and originality, and the film is noted for its realistic portrayal of inner struggles and use of visual symbols. Despite the film's bold approach, the review suggests that the happy ending may not fully capture Ghada's complex experiences.