The Venice Film Festival: A Spotlight on Middle Eastern and African Cinematic Voices
The Venice Film Festival, the oldest film festival in the world, has long been a stage for showcasing the best of global cinema. This year, the festival is making significant strides in promoting diversity and representation, particularly with its focus on films from the Middle East and North Africa (MENA) regions. The exhibition ‘Your Ghosts Are Mine: Expanded Cinemas, Amplified Voices,’ organized by Qatar Museums, brings contemporary filmmaking from these regions to Venice. Debuting during the vernissage week for the 60th Venice Biennale, the exhibition is also part of the Venice Film Festival, which runs through September 7. Spread across 10 galleries in Palazzo Cavalli-Franchetti, the exhibition showcases the work of more than 40 artists from countries in the region and the global south. Renowned artists such as Shirin Neshat, Sophia Al Maria, and Wael Shawky are among the featured talents, highlighting the rich tapestry of stories and perspectives emerging from the MENA region.
One of the standout works in the exhibition is ‘The Dam’ by Ali Cherri, a fictional narrative set in Sudan during the 2019 protests against President Omar al-Bashir’s regime. The film delves into the complexities of political unrest and personal struggle, offering a poignant commentary on the socio-political landscape of Sudan. Another highlight is ‘Little Palestine: Diary of a Siege’ by Abdallah al-Khatib, which explores daily life in the Palestinian refugee camp of Yarmouk during the Syrian Revolution. This documentary celebrates small joys amidst war and devastation, capturing the resilience and spirit of the Palestinian people. The exhibition aims to showcase the diversity and talent of emerging and underrepresented voices from the Middle East and North Africa, emphasizing the importance of representing Arab culture accurately in cinema.
Qatar Museums’ mission is to promote cultural exchange and understanding, a vision shared by the Doha Film Institute, which is also a main supporter of the event. Mathaf: Arab Museum of Modern Art and the Art Mill Museum contribute video works to the exhibition, further enriching the cultural dialogue. Her Excellency Sheikha al Mayassa bint Hamad bin Khalifa al-Thani, Chairperson of both Qatar Museums and the Doha Film Institute, underscores the importance of promoting understanding through cultural exchange. This commitment is reflected in the cooperation agreement signed between Qatar Museums and the city of Venice, aimed at strengthening diplomatic ties and promoting investments and cultural collaborations. It has been reported that Qatar may become the first country to secure a new pavilion in the Venice Biennale since South Korea in 1995, marking a significant milestone in cultural diplomacy.
The Venice Film Festival itself has faced criticism in the past for its lack of diversity, particularly regarding the representation of African films. Organizers have often blamed the shortage of eligible films from Africa, while critics argue that the lack of diversity among the judges is also a contributing factor. Despite these challenges, a few African films are being screened at the festival this year, including entries from South Africa, Tunisia, Ghana, and Egypt. One of the notable African films being screened is from South Africa, highlighting the festival’s ongoing efforts to address these criticisms and promote diversity. The inclusion of African films at the Venice Film Festival is a step towards promoting greater diversity and representation, showcasing diverse perspectives and stories that enrich the global cinematic landscape.
Among the African films featured this year, ‘Aïcha’ by Tunisian filmmaker Mehdi Barsaoui tells the story of a woman trying to escape reality. The film has earned critical acclaim and has been nominated in the ‘Horizons’ category. Egyptian director Khaled Mansour’s film follows a man on a journey to find a safe space for his dog, marking Egypt’s return to the Venice Film Festival after 12 years. The documentary ‘Maroun Baghdadi: A Legend Interrupted’ explores the life of a Lebanese filmmaker and has been selected for the ‘Venice Classics’ category. Palestinian director Scandar Copti’s film delves into the secrets and challenges of a family, adding to the rich tapestry of narratives from the MENA region. These films deal with themes of societal pressures, societal division, and the impact of cinema on real lives, resonating with audiences on a profound level.
The Red Sea Film Foundation has played a pivotal role in supporting Arab films at the Venice Film Festival. This year, six Arab films supported by the foundation are being showcased, covering various genres and stages, including an industry showcase. Notable films include ‘Aïcha’ and ‘Seeking Haven for Mr. Rambo,’ made possible through funding programs by the Red Sea Film Festival. Jomana Al-Rashid, the chair of the festival’s international film foundation, discusses the evolving Saudi film scene and the role of the Red Sea Film Foundation in nurturing talent. Since the lift of the cinema ban in late 2017, there has been a rapid progression in the Saudi film industry. ‘Noura’ was the first Saudi film selected for the Cannes Film Festival, and the first Saudi Arabian thriller, ‘Mandoob,’ has just been released in UK cinemas. The hope is for more Saudi films to have the opportunity to travel and be showcased globally.
The infrastructure and value chain around the Saudi film industry are being built, with the Red Sea Film Foundation supporting films at all stages, from development to distribution. The first arthouse cinema is set to open in Riyadh, providing a platform for indie and commercial films with strong storytelling. Cinema plays a crucial role in social transformation and depicting reality, a sentiment echoed by Al-Rashid, who personally enjoys artistic films. The festival and foundation are relocating to Jeddah’s historic old town of Al Balad, which served as the backdrop for the festival’s inaugural edition. A new cultural square will welcome films and events throughout the year, fostering a vibrant cinematic culture in Saudi Arabia.
Despite the progress, the Venice Film Festival still faces challenges in fully recognizing and representing African films and filmmakers. Very few films from Africa make it to top international festivals, partly due to the small number of films produced in the region. The distribution of African films can also make it difficult for them to be recognized and shown at major festivals. This year, only two films from Africa are being featured in the Horizons section – ‘Aïcha’ from Tunisia and ‘Carissa’ from South Africa. ‘Aïcha’ centers around a woman trying to break free from her past, facing obstacles such as family authority and misogyny. ‘Carissa’ is South Africa’s first feature film from a writer-director duo and is competing for the Lion of the Future prize.
Two more African films are competing for the Lion of the Future prize – ‘Seeking Haven for Mr. Rambo’ and ‘Perfumed with Mint,’ both from Egypt. ‘Seeking Haven for Mr. Rambo’ is about a man trying to hide his dog from a vengeful mechanic, while ‘Perfumed with Mint’ explores the complex nature of Egypt through the stories of two characters escaping their past. The Fisherman, a Ghanaian entry, is being shown in the Biennale College Cinema section for low-budget films, highlighting the festival’s support for emerging filmmakers. For the past 25 years, only filmmakers from North Africa have served on the jury panel at Venice. This year, Mauritanian-Malian director Abderrahmane Sissako is serving on the international jury panel, a historic achievement for Africa.
Sissako’s latest film, ‘Black Tea,’ was nominated for the Golden Bear at the Berlinale and has won numerous awards, underscoring the talent and potential of African filmmakers. Virtual reality (VR) films are also being featured at the Venice Film Festival, with two South African entries competing for an award. The Final Cut section of the festival supports the completion of films from Africa and the Middle East, with seven projects being featured this year. Three of those projects are from Egypt – ‘Aisha Can’t Fly Away,’ ‘Your Daughter,’ and ‘My Father’s Scent.’ Mozambique and South Africa are also represented in the Final Cut section with the film ‘The Prophet,’ while ‘Ancestral Visions of the Future,’ a docufiction by a Lesotho director, is also being featured.
The Venice Film Festival continues to make strides in promoting diversity and representation, but there is still a long way to go for African films and filmmakers to be fully recognized and represented. The inclusion of African and Middle Eastern films at the festival is a positive step towards showcasing diverse perspectives and stories from around the world. It is crucial for festivals like Venice to continue supporting and promoting films from underrepresented regions, providing a platform for voices that have long been marginalized. The ongoing efforts to promote cultural exchange and understanding through cinema are essential in fostering a more inclusive and diverse global film industry.
As the Venice Film Festival progresses, it remains a highly prestigious and influential event in the international film industry. The festival plays a key role in shaping the cinematic landscape, and its commitment to diversity and representation is vital in ensuring that all voices are heard. The stories and perspectives from the Middle East, North Africa, and Africa enrich the global cinematic tapestry, offering audiences a deeper understanding of different cultures and experiences. The Venice Film Festival’s focus on these regions highlights the importance of cinema in bridging cultural divides and promoting empathy and understanding across borders.
In conclusion, the Venice Film Festival’s spotlight on Middle Eastern and African cinematic voices is a testament to the power of film in promoting cultural exchange and understanding. The exhibition ‘Your Ghosts Are Mine: Expanded Cinemas, Amplified Voices’ and the inclusion of African films at the festival underscore the festival’s commitment to diversity and representation. While there is still much work to be done, the progress made this year is a positive step towards a more inclusive and diverse film industry. The stories and perspectives from the Middle East, North Africa, and Africa enrich the global cinematic landscape, offering audiences a deeper understanding of the world around them. As the festival continues to evolve, it is crucial to support and promote films from underrepresented regions, ensuring that all voices are heard and celebrated.