In this book, Robert K. Beshara applies decolonial film theory to an analysis of Youssef Chahine's (1997)
A
l-Masir (Destiny).
Transmodern Cinema and Decolonial Film Theory
is the first book on decolonial film theory, which unpacks key concepts in decoloniality and decolonial aesthetics. Decolonial film theory is then applied to Youssef Chahine's (1997) historical drama
al-Ma
?
ir
in an effort to juxtapose the Egyptian filmmaker (Chahine) and his decolonial cinema to the Andalusian polymath (Ibn Rushd) and his Islamic philosophy.