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talk to me nice


RUUN NUUR is an independent cinematic practitioner and cultural worker hyper focused on Muslim and African narratives.  Nuur is invested in the democratization of cinema and its culutral and technological resources. 

Producer of the Field of Vision commissioned documentary short, They Won’t Call It Murder (2022), a poetic exploration of Columbus, Ohio as a container of violence peruptrated by the local police force. The film was selected as a Vimeo Staff Pick and played at Sheffield Doc/Fest, BAMcinemafest, Camden International Film Festival, AFI Festival, DOCNYC and more.

As the co-founder of the nomadic microcinema, NO EVIL EYE CINEMA, Nuur has organized accessible education workshops and original film curation around the country and online. At 22, she created SVLLY(wood), an independent feminist print film magazine, one of the only kinds in the world.

She’s served on the juries of Sheffield Doc/Fest, Indie Memphis and has been an invitied guest speaker for Doha Film Institute, True/False Film Festival, New York Film Festival, and many more. 

Her essays and interviews have been published in Film Comment, i-D, DAZED, Hyperallergic and among other multimedia platforms. Her work has been profiled in Interview Magazine, NYLON, Brooklyn Rail, and more. 

Nuur has been named the 2022-23 Artist Residnecy Award at Wexner Center for the Arts and currently the 2022 Tejumola Olaniyan Creative Writers-in-Residence Fellowship, working on a documentary feature on her homeland of Somalia.

C.V upon request. Send your salaams in the inbox <3 

as founder + managing editor of SVLLY(wood) 

issue.1: THE FEMININE MYSTIQUE REDUX [october 2016]

Read Digital Issue
Buy Print Issue

Wexner Center for the Arts - Cinema Revival: Exhibition as Activation

Artist Space
- The Inherent Cinematic Transgression of Bill Gunn- print catalog 
for the exhibition, Till They Listen:  Bill Gunn Directs America

Kino Lorber - Hyenas (1992) Blu-Ray DVD booklet introduction

MUBI/The Notebook - When an Immigrant's Familial Bonds are as Foreign as the Land: Ekwa Msangi Discusses ‘Farewell Amor’

Hyperallergic - 
An Essential Watchlist of Groundbreaking Black Documentaries

PBS/Independent Lens
- Rural Perspective on Mental Health Care in a Time of Crisis

Hyperallergic Processing Mortality With Cinema

In Maine, a Space to Spur Change in Documentary

Hyperallergic - What Happened When a Filmmaker Asked Black Women Whether They Feel Safe

Reverse Shot - First Look 2019: Ambulante Más Allá

Wexner Center for the Arts
- Examining‘Personal Problems’

The FADER - In a year obsessed with skating, this film is a true peek into the always-evolving subculture

Wexner Center for the Arts
Grace Jones & Jean-Michel Basquiat: Iconoclasts in motion

Film Comment - Interview: Khalik Allah for BLACK MOTHER

The 2000s lesbian strip club party that helped define club culture today

Film Comment - The Night Walker *behind a paywall*

- A History of Protest and Activism at the Oscars 

The Lily/Washington Post - These Black women are working to take down R. Kelly 

Wexner Center for the Arts - Soleil Ô and the expansion of the African image 

Fandor - Love, Uninterrupted 

Reverse Shot - First Look 2018: Taste of Cement 

Filmmaker Magazine - Keeping Print Criticism Alive in the Digital Age 

afterHOURS - 10 subversive, feminist horror films to check out this Halloween 

indieWIRE - Race, Religion, Immigration: 5 New Documentaries That Capture Our Divided Times 

i-D - where were all the female directors at the vmas?

Okay Africa - ‘Your Story Matters:’ Heidi Saman’s Blueprint to Making a Successful Debut Feature 

MUBI - Women in Revolt: An International Women's Day Film Syllabus 

Real Life Magazine:

1) Defending Your Life
2) Body Cam

Media Diversified - Angela Bassett, the genius that defies age 

TIFF/The Review - Med Hondo is the African Auteur You Need to See 

Little White Lies - Is Western cinema ready to challenge Muslim stereotypes? 

cléo journal - Permission, Power, and Privilege: An Interview with Kirsten Johnson