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Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSAbove: Madeleine Lim's Sambal Belacan (1997)After two decades of censorship by the Singapore government, Madeleine Lim's 1997 film Sambal Belacan will be screened in Singapore. The film, "a personal, intertextual, and poetic document about three Southeast Asian lesbians who discuss the social and political climate of Singapore," has previously only been shown in underground viewings. Meanwhile, The Meg 2 has found its director: Ben Wheatley, whose adaptation of Daphne du Maurier's Rebecca recently debuted on Netflix. Recommended VIEWINGThe official trailer for Carlo Mirabella-Davis's thriller Swallow, which follows a pregnant housewife's stomach-churning struggle for bodily autonomy. This Halloween, watch the film on Mubi. Béla Tarr's 1988 film Damnation has been restored in 4K from the original 35mm camera negative by the Hungarian National Film Institute. Co-written by frequent collaborator László Krasznahorkai, the film...

Rabah Ameur-Zaïmeche's South Terminal (2019) is exclusively showing on Mubi in the Viewfinder series.My name is Rabah Ameur-Zaïmeche, and South Terminal is my sixth film. A film which blurs the tracks, which has no borders. Neither place nor time are clearly defined. Is it the Algeria of yesterday? The France of today, the Europe or even the world of tomorrow? The chaos generated by the contemporary economic order is accompanied by authoritarian drifts which do not concern only Algeria or France. The return of reactionary mechanisms all over the world proves this. South Terminal was filmed in the south of France exclusively, in Nîmes, Istres, Miramas and Grasse, however it carries ramifications from the colonial campaigns, through the war of independence up to the dark years that Algeria experienced in the 90s. This allowed us to transpose Algerian history elsewhere, to explode the frameworks and thus to reveal the violent,...

One of France's most intriguing and underrated filmmakers, Rabah Ameur-Zaïmeche has crafted a distinctive body of work over a handful of features (among them Back Home, Dernier maquis and Smugglers' Songs) that often deal with the Franco-Algerian director's own North African diaspora. At once raw and the lyrical, as if they were documentaries melded into impressionistic pieces of fiction, his movies can feel like they were improvised or shot on the fly, and yet reveal a powerful sense of craft and narrative.

In his latest film, South Terminal (Terminal Sud), Ameur-Zaïmeche gives us a dark and abstract political thriller ...