Wael Abumansour

Wael Abumansour, yeah, the guy’s got a wild filmography if you’re into the offbeat side of cinema. Take “Night Courier” (2023) for example—dark, moody, and just a little bit unhinged, the way only someone with a real bone to pick with sleep schedules could appreciate. It’s not your average “guy delivers stuff at night” flick, either. The city almost becomes its own character, swallowing up our courier as he weaves through neon-lit chaos, bumping into late-night weirdos and getting tangled in a plot that spirals into something way bigger than your standard delivery gone wrong. There’s grit, there’s heart, and there’s this underlying tension that just never lets up. Jump back a few years and you land in the madness of “Madinat AlMalahi” (2020). Imagine a place that’s supposed to be all fun and games, but somehow, everything’s just a little bit off. Carnival lights flicker, laughter echoes, but there’s a sense that not everything is as innocent as it looks. Abumansour doesn’t just point and shoot—he digs at what’s really happening when the rides stop and the masks come off. The film’s cast of misfits and dreamers get swept up in a story that’s equal parts nostalgia and nightmare. Then there’s “MOZMARJI” (2015). Early stuff, sure, but you can already catch those signature moves—the way he turns the everyday into something just a bit surreal. The story’s rooted in tradition and music, but don’t expect a sugarcoated take. Abumansour’s world is rough around the edges, sometimes absurd, but always real. Each film’s got its own flavor, but they all feel like they’re cut from the same slightly twisted cloth.