DUBAI: Regional filmmakers, producers, actors and cinema enthusiasts gathered in the Egyptian town of El Gouna this week to watch a diverse selection of films from the Arab world and embrace the cultural exchange it offers.
Already known for discovering new voices and being a catalyst for the development of cinema in the region, the second edition of the El Gouna Film Festival (GFF), held on the shores of the Red Sea under the auspices of the Ministries of Culture and Tourism, opened on Sept. 20 and continued until the 28th.
“Eyebrows,” a short feature film by Tamer Ashry, a 34-year-old-Egyptian filmmaker, was screened in the Official Competition category. It tells the story of a young woman who struggles with the conflict between her personal need to feel beautiful and extreme religious views.
“The woman’s basic need is to pluck her eyebrows,” Ashry told Arab News. “She has a human need to feel more accepted and, although it’s not against Islam, there are some extreme views (and some) believe it is forbidden. So this sheds light on extreme religion and her struggle between what she believes in and her needs.”
This year the festival was a day longer than the inaugural edition, with more films showing and more than double the number of applications to the event’s industry hub, the CineGouna Platform.
“The filmmaking industry in the Arab world has become more and more mature in the past five to seven years,” said Ashry. “When you go to Europe or anywhere else, they look for Arab films because they can see that films coming from here deal with different topics that are more interesting and relevant. The subjects reflect what is happening in the Arab world and that gives the whole movement more of a push and motivation to work more and make more films.”
Filmmakers from Iraq, Morocco, Tunisia, Saudi Arabia, Palestine and Egypt mingled at the event, which offers them a vital platform in the region after the demise of the Abu Dhabi Film Festival, and the announcement by the Dubai Film Festival that it is taking a break this year and will be held every two years in the future.
“Gouna brings to the Arab world this kind of international look to our films,” said Ashry. “It’s a week of meeting lots of people, making connections, having opportunities to watch other films and gaining experience. It’s really interesting for Arab filmmakers and producers to see the opportunities we can bring to elevate our films to the international level.”
The festival program included 15 films in the Feature Narrative Competition, 12 in the Feature Documentary Competition and 23 in the Short Film Competition. In addition, five films screened in a special retrospectives program and 25 out of competition, bringing the total to 80 — 10 more than in the first edition of the festival.
CineGouna Platform, the event’s industry arm, which offers delegates from around the world the chance to connect and share expertise, represents an important opportunity to support Arab filmmakers. It also provides regional projects with artistic and financial support to help nurture Arab film.
“The festival has already set a benchmark to all festivals in the region, although it’s only in its second edition,” said Yara El-Ashry, a CineGouna Platform assistant. “We’re strengthening our position worldwide as film supporters and, most importantly, humanity supporters.”
She said the festival’s theme of “Cinema for Humanity” speaks for itself, as GFF focuses on expressing issues that might not be expressed elsewhere.
“It also operates with international standards, even in the finest details, which will help it grow big time in a very short time,” she added. “The CineGouna Platform consists of CineGouna Bridge, which has masterclasses, panels and workshops, in addition to SpringBoard, which is a competition for projects in development and films in post-production.”
The festival has received a lot of exposure internationally, helping to introduce Arab cinema to audiences around the world.
“When international celebrities and filmmakers are here to see what we have, they’ll go and talk about it abroad,” said El-Ashry. “We need that since the image of Arabs in general is usually not correctly conveyed. We need to push Arab films to show the true sense of art we have everywhere.”
Marco Orsini, president of the International Emerging Film Talent Association (IAFTA), which is one of the festival’s sponsors, said the GFF is crucial to creating a nucleus around which filmmakers in the region can meet and discuss the art of making movies.
“There has previously been in Abu Dhabi and Dubai some sort of central location where international filmmakers can come in and explore Arab cinema but El Gouna has taken it to the next level,” he said.
IAFTA’s mission, he explained, is to engage in the art of cinema by exploring and finding new and emerging filmmakers to take part in other film festivals around the world.
“Last year we participated in the festival and brought a Palestinian and Egyptian filmmaker to the Marche du Film in Cannes (Cannes Film Market),” he said. “This year, we’re hoping to bring another filmmaker to this year’s Cannes Film Festival.”
Orsini, who is also a film director, said all film festivals help to advance the industry by providing a forum for engaging in discussions about the art of film.
“They’re vital because it’s important for filmmakers to have a space where they can think freely,” he said. “It’s important for film festival directors to come and be able to engage with filmmakers and track them, and film enthusiasts to come and interact with movie stars, directors, writers and people they follow because of the films that they make.”
He added that the unique culture of the Arab world is reflected in the films that are made here.
“The styles of filmmaking and how people tell stories are different,” he said. “Those stories are important and it’s important to tell them from a different perspective. Films representing a country are ambassadors for the people, the culture, the food, the religion, and this is what makes film so important — it’s a cultural exchange program.”
Still standing: Why El Gouna is vital for Arab filmmakers
Still standing: Why El Gouna is vital for Arab filmmakers
- Regional filmmakers, producers, actors and cinema enthusiasts gathered in El Gouna over the past week
- In total 80 movies were screened during the festival
Series of inspired redirections leads rising star in Saudi cinema to Cannes screening
- The filmmaker’s AlUla Creates project is set to be partially screened at Cannes Film Festival
JEDDAH: Filmmaker Hanaa Alfassi, from Jeddah, is a rising talent in the nascent world of Saudi cinema, rubbing shoulders with iconic directors like Haifa Al-Mansour.
Her latest project, “When the Shelves Hymn,” created under the working title “Bygones,” is a coming-of-age drama that is currently in post-production. A scene is set to be screened at a Film AlUla event at Cannes Film Festival this week and the film is part of the AlUla Creates initiative, with Al-Mansour present as one of the mentors on set.
“We were fortunate to have the director Haifaa Mansour provide valuable feedback during the development process.” Alfassi told Arab News. “She is a very kind and inspiring filmmaker, and we were glad as a team to have her visit the set.”
Collaborating closely with industry veterans like Moayad Abualkhair and Al-Mansour, Alfassi benefited from robust feedback loops that significantly enhanced the development process.
HIGHLIGHTS
• Hanaa Alfassi also served as a judge at the 10th Saudi Film Festival, which was held recently this month in Dhahran.
• Her cinematic perspective was profoundly influenced in 2012 during the premiere of ‘Wadjda’ at the Tribeca Film Festival in New York City.
• A film she was involved in, ‘In Between,’ directed by Dalia Bakheet, was selected for the Annecy Film Festival in 2019.
• Her initial foray into the digital arts began with a 3D animation course in 1999 during her high school years in Egypt.
She also faced numerous challenges while filming “When the Shelves Hymn.”
“Despite unexpected delays, the team utilized these interruptions for in-depth discussions and rehearsals, adding depth to their work,” she said.
Filming in the old town of AlUla was a deliberate choice, intertwining the narrative with the historic location’s enchanting landscapes.
“The choice of an antique shop in the old town was not only organic to the story but also perfectly aligned with the location’s authenticity,” the filmmaker said.
We were fortunate to have the director Haifaa Al-Mansour provide valuable feedback during the development process.
Hanaa Alfassi, Saudi filmmaker
“Despite the numerous regulations governing shooting location, as it’s a perceived UNESCO heritage site, the production design team led by Amany Wahba and Theory PS ensured strict adherence to all requirements.”
The support from mentors throughout the production was crucial as it helped fine-tune the script, enrich the film’s direction, and ensure the final product was not only a reflection of Alfassi’s vision but also collaborative filmmaking.
“Their support went beyond just providing feedback; it was a source of encouragement and motivation throughout the process,” she told Arab News.
Alfassi also served as a judge at the 10th Saudi Film Festival, which was held recently this month in Dhahran, a task that provided her with a unique vantage point and offers opportunities to partake in meaningful discussions.
“Serving as a jury member is also a learning experience exposing me to a diverse range of films and viewpoints as well as true discussions about the nature of cinema as an art form,” she said.
Alfassi’s cinematic perspective was profoundly influenced in 2012 during the premiere of “Wadjda,” the first feature-length film made by a female Saudi director (Haifaa Al-Mansour) at the Tribeca Film Festival in New York City. The film was the Kingdom’s official submission for the foreign language film category in the 86th Academy Awards, marking the first time the country submitted a film to the Academy for consideration.
At the premier, surrounded by a diverse audience, Alfassi was struck by the universal curiosity and connection films can foster. “It was a moment filled with excitement and curiosity as we witnessed people from diverse backgrounds and cultures come together to experience a film from a different place,” she said.
“This sense of curiosity has always been a part of me, but the experience reinforced its importance. It’s crucial for me today to maintain this curiosity, as it enables me to tell diverse narratives and explore new perspectives.”
Her entry into the world of filmmaking was not straightforward, but rather a series of inspired redirections. Her initial foray into the digital arts began with a 3D animation course in 1999 during her high school years in Egypt.
Although the emerging digital era fascinated her, Alfassi found the detailed process of animation to be too time-consuming. This led her to explore photography, which temporarily satisfied her storytelling impulses. However, her desire to tell dynamic, evolving stories only grew from there.
Alfassi enrolled in the filmmaking institute, setting her career trajectory firmly toward the cinema. “As I pursued my studies in mass communication at University of Ain Shams, my mother discovered a new institute founded by one of Egypt’s renowned filmmakers, Rafat Al-Meehi,” she said. “I enrolled, balancing two years of filmmaking education alongside my college curriculum.”
Over the years, Alfassi has contributed to various short films both as a director and producer. One of these, “Lollipop,” received a financial award from the ENJAAZ Dubai Film Market’s production support fund and gained support from The Heart Productions and the Industry Lab at the New York Film Academy.
“Lollipop” has been showcased at several prestigious festivals, including the Dubai International Film Festival and the Malmo Arab Film Festival. It was also featured in the “Hope” program by ANHAR, the Arab Network for Human Rights Films.
Another project she was involved in, “In Between,” directed by Dalia Bakheet, was officially selected for the renowned Annecy Film Festival in 2019.
From being inspired by a film by Al-Mansour to becoming a film director herself and having Al-Mansour on site, Alfassi’s hard work and perseverance has clearly paid off. Late last year at the 2023 Red Sea International Film Festival, alongside her colleagues Jade and Mana Al-Majd, she clinched one of the two awards in the TV Series Lab category for their comedy TV pilot set in Saudi Arabia, an achievement she considers an honor.
Alfassi’s journey in filmmaking is a compelling narrative of passion, adaption, and perseverance.
Looking ahead, the Saudi filmmaker is enthusiastic about her participation in future festivals and is keen to leverage platforms like the Cannes Film Festival to broaden her network and introduce her work to a global audience.
Saudi Film Commission takes charge of cinema sector
- First phase includes regulating licensing for the operation of permanent, temporary and special cinemas
- CEO Abdullah Al-Qahtani: The Film Commission will undertake a comprehensive review of all procedures related to the cinematic sector
JEDDAH: Saudi Arabia’s Film Commission has announced it will now have oversight over the cinema sector, which will no longer fall under the jurisdiction of the General Authority of Media Regulation.
The Council of Ministers had ordered the change, which has now been implemented after the completion of the required regulations, the Saudi Press Agency reported on Monday.
The first phase includes regulating licensing for the operation of permanent, temporary and special cinemas, as well as the production, distribution and import of movies, videos and television programs.
Abdullah Al-Qahtani, the commission’s CEO, said: “The Film Commission will undertake a comprehensive review of all procedures related to the cinematic sector with the aim of their development and enhancement.
“Key improvements will focus on enhancing the customer experience by streamlining and optimizing the processes required for all activities in the cinematic sector. This will involve reviewing the licensing requirements for the film sector, as well as simplifying the licensing process and application for related services.”
The commission posted on X: “The film and cinema sector jurisdiction has been transferred from the General Authority for Media Regulation to the Film Commission. This move, facilitated by continuous cooperation and support between the two bodies, underscores the commission’s ongoing commitment to developing and improving the sector.”
The commission’s board has approved a reduction in fees for cinema licenses. It has also waived operational license fees for three years until 2027, covering permanent, temporary, and special cinema halls. Applications for licenses can now be made through the unified electronic platform Abde’a.
Swiss artist pays homage to heritage in Riyadh show
- ‘From Roots to Vision’ by Vlad Pocol is inspired by Saudi Vision 2030 and his own personal journey
RIYADH: In Ahlam Gallery’s latest solo exhibition, Swiss painter Vlad Pocol examines the ties that link past, present and future — with Saudi Arabia’s Vision 2030 as a reference point.
“If you could explain your artworks in one word, what would it be?” one listener asked. “Intuition,” Pocol replied, explaining the basis of his first show in the Kingdom.
The artist relied on intuition when he decided only a few months ago that Saudi Arabia would be his new home, leading him to create an exhibition based around three ideas: heritage, transition, and vision.
The immersive exhibition titled “From Roots to Vision: A Migration” urges observers to think about heritage, and challenge the possibilities of the future as we weave our past legacy for generations to come.
Pocol told Arab News: “It’s great to evolve, but it’s also important to stay rooted in our own heritage. I’ve taken Saudi Arabia as an example. Everyone is so excited with what’s happening with the Vision (2030), but everyone is still so rooted and respectful and inspiring in a collective way … that can also inspire us in an individual way.”
Within the “Heritage” collection, “Identites” delves into the themes of self-reflection and outsider perceptions. Four papier mache panels woven together by rope encourage the viewer to see alternative versions of themselves as they are layered in complexity with oil paint.
It is great to evolve, but it is also important to stay rooted in our own heritage.
Vlad Pocol, Swiss artist
“Legacite” is a series of six artworks that explores the themes of circularity, continuity, and generational cycles. In a single dot, each painting prompts a reflection on the viewer’s part within these continuous loops.
The highlight of the show, “Sans Fin,” is a mirage of moving images constructed by strokes of paint. The piece is inviting, yet mysterious, prompting us to question our capability to grow using the metaphor of a black hole — you never know what may lie in the unknown.
In 2018, when Pocol was a lawyer, he was invited by a colleague to a workshop centered around recreating the work of a contemporary artist. After an accident that resulted in a damaged painting, he developed a technique to repair the artwork.
“My technique gives structural movement. When you see my paintings, you enter a world … it’s moving. My energy also comes up in the artwork,” he said.
In “Transition,” the works invite viewers to consider what lies beneath the surface, with more sculptural works coming into play.
Another installation is made of discarded materials salvaged from artwork waste. What we deem as undesirable is turned into something valuable, and even beautiful, challenging us to reconsider sustainability practices and our role in global consumption.
In the “Vision” collection, the artist’s optimism about the future is linked to the promise of Saudi Arabia’s Vision 2030.
His work “Dessen” is based on a childhood memory of winning his first drawing contest, and celebrates the impact of early creative expressions on future artistic development.
While “Elles” is a tribute to femininity and the women in his family, nearby twin works are inspired by the artist’s migration from Romania to Switzerland.
Pocol describes the green-colored “Ja Deu Tu Certo” as “one of the most personal” works in the collection.
“Any pieces I’ve offered to my mom have been green because I really believe in the power of healing and the green (color). My mother has been fighting metastatic cancer for two years now,” he said. The work conveys his belief that “she will be well.”
He said the color also holds significant meaning in Saudi culture, as it stands for pride and patriotism.
Reflecting on showcasing his works in the Kingdom, Pocol said: “It’s so significant to have my exhibition here. While I have roots from Romania, 30 percent of my genes are Middle Eastern. Being here in Saudi Arabia is very subconscious. I feel at peace, like I’m coming back to something.
“I’ve traveled a lot in my life and it’s the first time I’m able to find a new home outside of Switzerland … once you follow your intuition, it gets you to whatever is meant for you. That’s why I’m here in Saudi Arabia. It’s meant to be.”
The exhibition will run until June 2.
Irish performer ‘cries’ after Israel reaches Eurovision final as UK venues cancel watch parties
Bambie Thug, Ireland’s entry in the Eurovision Song Contest, claims to have cried after Israel qualified for the final to be held on Saturday.
“It is a complete overshadow of everything, goes against everything that Eurovision is meant to be,” Bambie Thug told journalists ahead of the event at Malmo Arena in Sweden. “I cried with my team.”
The 31-year-old singer and songwriter wore a keffiyeh and carried Irish flags while urging the European Broadcasting Union to show “conscience” and “humanity.”
The artist will perform “Doomsday Blue” in the final.
Israel’s performer, Eden Golan, will present her song “Hurricane” at the competition. The track underwent revisions after the initial version, “October Rain,” was deemed too political by the EBU.
Although the contest’s motto is “united by music,” this year’s event has attracted protests from Palestinians and their supporters, who say Israel should be excluded because of its conduct of the war in Gaza.
Thousands of people are expected to march for a second time this week through Sweden’s third-largest city, which has a large Muslim population, to demand a boycott of Israel and a ceasefire in the seven-month conflict.
In Finland, a group of about 40 protesters stormed the headquarters of public broadcaster YLE on Saturday, demanding it withdraw from the song contest because of Israel’s participation.
Venues across England are canceling their gigs after Palestine protest groups instructed their followers to pressure pubs showing the contest - leading some venues to close due to staff safety concerns.
The Duke of York cinema in Brighton called off its Eurovision event this week, telling ticket holders it was doing so “due to safety concerns for our staff and customers,” the Guardian reported. The Brighton Palestinian Solidarity Campaign called the decision a “massive win.”
AlUla to have starring role in ‘Motor City’ to be filmed in Saudi Arabia
DUBAI: Saudi Arabia’s AlUla is expected to have a starring role in director Potsy Ponciroli’s upcoming action thriller “Motor City.”
Production is due to start on July 10 in New Jersey and Saudi Arabia. The film is part of production company Stampede Ventures’ 10-picture slate deal with Film AlUla.
The cast will include Alan Ritchson, Shailene Woodley, Ben Foster and Pablo Schreiber.
“Motor City” is centered around John Miller (Ritchson), a Detroit auto worker who loses everything, including his girlfriend (Woodley), after being framed by a local gangster (Foster) and sent to prison.
After his release, Miller seeks revenge while trying to win his former girlfriend back.
