Yalla Habibi!

Directed by Edwin El Bainou, Ryan Kluftinger
2025    90mDocumentary
7.410.0
FortNine chases the world circumnavigation record with filmmaker Edwin El Bainou. Racing across continents on Ducati Multistradas, they must cover five segments in 19 days, including flights and borders.

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  • Ryan KluftingerSelf / Director / Producer
  • Connor BondlowSelf / Producer
  • Edwin El BainouSelf / Director / Editor
  • Cedric KayemSound Designer
  • NiztradamusApril 12, 2026
    While Yalla Habibi! gets us to know Ryan, Connor and Edwin from Fortnine better from a personal side of view, it does skip a lot of the trip and feels like a mega hit ifit was released on their channel . But as a movie that you pay for? IDK, feels more like an XL episode Common Thread XP and less like A LOng Way Down. I love FortNine (mostly) but this one should have been a channel special, not a movie release.
  • DESEBA6d ago
    I came away from Yala Habibi with mixed feelings. On one hand, it’s an incredibly well-shot documentary. Edwin clearly has a strong eye for cinematography — there are so many beautiful compositions throughout the film, and the characters naturally carry a lot of presence on screen. Visually, it’s consistently engaging. But where the documentary struggled for me was in the editing and pacing, especially at the beginning and the end. The strongest section by far was India. That’s where the film finally slowed down enough for the audience to really feel the exhaustion, desperation, chaos, and scale of the journey. The tension and fatigue became tangible, and suddenly the trip felt real. Australia also hit emotionally in a way that felt grounded and human. In contrast, most of the North American section and the earlier Europe segments felt strangely detached. The pacing moved so quickly that I never really connected with the physical or emotional weight of the journey. We rarely sat with the tiredness of the riders or the reality of traveling such insane distances. Instead, scenes often felt like a montage of beautiful shots rather than moments that built a larger emotional thread. The ending especially felt abrupt. After such a massive journey, it seemed to conclude almost before the emotional payoff had time to land. To me, it feels like Edwin is exceptionally skilled at shooting and editing in the style of FortNine’s shorter-form content, where stunning cinematography is elevated by Ryan’s hosting and tightly structured scripts. But Yala Habibi exposes the challenge of transitioning that style into long-form storytelling. The visuals remain excellent, but the documentary often loses its narrative rhythm and emotional continuity. There’s still a lot to admire here, though. Even with its flaws, it’s an ambitious and visually impressive documentary with genuinely memorable moments.

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