Bilal Qureshi continues to look “elsewhere,” here musing on the contrast in stereotypes and complexities between a marquee movie, Tony Gilroy's Beirut, and an art-house work, Tamer Said's In the Last Days of the City. The overlapping theatrical release of the two films allows Qureshi to juxtapose their very different visions of the Middle East. While Beirut repeats familiar tropes from Hollywood's post-9/11 Arab thrillers, In the Last Days of the City's portrait of pre-revolutionary Cairo presents a welcome alternative to this clichéd gaze, presenting instead a more authentic and genuine representation of Middle Eastern subjectivity.

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