8 items from 2017
Amal Ramsis: Cairo International Women’s Film Festival’s Instagram account
In much-needed good news, Variety reports that Doha Film Institute (Dfi) is awarding more than half of its spring grants to female filmmakers. In fact, women will receive about 66 percent of the funding. It’s usually a win when women comprise 40-something percent of festivals or awards, so this development is especially fantastic.
Dfi is funding 29 projects in various stages of development. Nineteen of them are directed by women. More than 80 percent of the selected films take place in the Arab world. “It’s not deliberate on our part,” said Dfi CEO Fatma Al Remaihi, “but it’s fantastic to see how more [Arab] women are being empowered to do films than ever before.”
Female filmmakers in the midst of post-production made the biggest splash. Four of the five selected films — about 80 percent — are women-helmed. The honored films are Sonia Kronlund’s “Nothingwood,” which follows “Z-grade movie” actor and director Salim Shaheen, Erige Sehiri’s “The Normal Way,” about five train conductors weighing their options while on a road trip, “Tiny Souls,” Dina Naser’s portrait of a young woman growing up in a refugee camp, and Amal Ramsis’ “You Come from Far Away,” an experimental project that follows a Palestinian father fighting in the Spanish Civil War.
Stories about the Somali National Women’s basketball team, a 20th wedding anniversary gone sour, a fashion show in the middle of the Algerian Civil War, and a young woman standing up to a monster are among the women-directed projects receiving Dfi grants.
All of the female Dfi spring grants recipients and synopses of their projects are below. List adapted from Variety.
Immolations (Algeria, Canada, Qatar) by Meriem Achour Bouakkaz, an intimate encounter with people who have attempted to set themselves on fire as a cry of distress against the infinite difficulties of simply finding their place in the sun.Nation’s Hope (Somalia, UAE, UK, USA, Sweden, Republic of the Congo, Qatar) by Hana Mire, covering a season in the lives of Somalia’s National Women’s basketball squad, as veteran coach Suad Galow leads the team of fearless young women against both rival teams and Al-Shabaab.Mnemosyne (Egypt, Qatar) by Shaza Moharam, a feature experimental/essay that depicts Shaza returning to her hometown of Alexandria, with a quest to recover from her childhood amnesia, only to find that the city itself is losing its memory
Nothingwood (France, Germany, Qatar) by Sonia Kronlund about Salim Shaheen, the most prolific and popular actor-director-producer in Afghanistan. Passionate about cinema, he tirelessly makes Z-grade movies in a country that has been at war for over 30 years.The Normal Way (Tunisia, France, Qatar) by Erige Sehiri, in which five train drivers are torn between their loyalty to the old Tunisian railway company and the fresh personal aspirations they can finally express in the wake of the revolution, while on a road trip.Tiny Souls (Jordan, Lebanon, Qatar) by Dina Naser, which portrays the changes in Marwa’s life, as she goes from childhood to adolescence within the walls of the Al Zaatari refugee camp in Jordan, reflecting its effect on her reality and future.You Come from Far Away (Egypt, Lebanon, Qatar) by Amal Ramsis, an experimental/essay; Imagine your father is a Palestinian who fought against Franco in the Spanish Civil War. Imagine you have a family, but were raised without parents.
Papicha (Algeria, France, Morocco, Qatar) by Mounia Meddour about Nedjma, who refuses to submit to fear during the Algerian Civil War by fulfilling her dream of putting on a fashion show.Sofia (Morocco, France, Qatar) by Meryem Benm’Barek, which is set in Casablanca and charts the life of 22-year-old Sofia, the only daughter in a rather traditional family. While having dinner with her siblings, she discovers she is about to give birth.The Translator (Syria, Jordan, France, Qatar) by Rana Kazkaz and Anas Khalaf in which a political refugee returns illegally to Syria and risks everything to free his brother from the regime, as the Syrian Revolution begins.
Ava (Iran, Canada, Qatar) by Sadaf Foroughi about an Iranian seventeen-year-old girl who challenges the strict rules of her traditional upbringing and learns that her mother broke the rules as a young woman as well.Joint Possession (Morocco, France, Qatar) by Leila Kilani, in which Pharaonic real estate projects surround the Mansouria, a land-locked family estate that is up for sale and coveted by Amina and her heirs.The Blessed (Algeria, France, Belgium, Qatar) by Sofia Djama; set in Algiers, a few years after the civil war, it follows Amal and Samir, who have decided to celebrate their 20th wedding anniversary at a restaurant, but the mood turns dark and becomes more volatile as the night wears on.The Seen and Unseen (Indonesia, Netherlands, Australia, Qatar) by Kamila Andini about Tantra, who becomes very sick and falls into a deep sleep, forcing his twin Tantri to go beyond words to communicate with him.Wajib (Palestine, UAE, France, Switzerland, Norway, Colombia, Qatar) by Annemarie Jacir about Shadi, who returns to his hometown to help his father hand-deliver his sister’s wedding invitations. As the estranged pair go house to house, the details of their fragile relationship come to a head.
Inside Me (Egypt, Germany, Qatar) by Halla Tarek, about a young Egyptian girl, silenced by society, who goes on an adventure to discover her own voice fighting an evil monster.Last Day at Home (Qatar) by Noor Al-Nasr, in which his last day at home becomes a boy’s first day of an adventure.The Black Veil (Qatar) by A.J. Al Thani, where a woman attempts to finally escape, in order to gain freedom from the oppression she has been living under.
Women Filmmakers Receive 66% of Doha Film Institute Spring Grants was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story. »
- Rachel Montpelier
Doha Film Institute unveils spring 2017 grants.
Palestinian film-maker Annemarie Jacir’s upcoming dark comedy Wajib and Tunisian director Mohamed Ben Attia’s [pictured] new film Weldi have won funding in the latest round of grants from the Doha Film Institute (Dfi).
Unveiling its spring 2017 grants round during Cannes, the Qatari institution said it had supported 29 projects from 16 countries, with 80% of the selected projects hailing from the Arab world.Dfi CEO Fatma Al Remaihi highlighted the fact that 19 out of the 29 projects were directed by female film-makers.
“This year’s grants projects are even more special for the large representation of women directors as well as themes that focus on coming-of-age stories of central female characters,” she said.
“Stories of hope, self-discovery, women empowerment, tales of family life and of life in conflict zones are highlighted in the selections this Spring,” she added
It has been a high-profile Cannes this year for the Dfi grants programme which backed Un Certain »
The Doha Film Institute has announced the new batch of 29 film projects from 16 countries that will receive grants funding, which includes new works by France’s Sonia Kronlund, whose “Nothingwood” is screening in the Cannes Directors Fortnight, Tunisia’s Mohamed Ben Hattia (“Hedi”), Morocco’s Leila Kilani (“On the Edge”), and Palestine’s Annemarie Jacir (“When I Saw You”).
Significantly, more than half of the Dfi Spring grants are going to films helmed by women directors with a large portion of coming-of-age stories centered around female protagonists. Over 80% are the Arab world.
“It’s not deliberate in our part, but it’s fantastic to see how more [Arab] women are being empowered to do films than ever before,” commented Dfi CEO Fatma Al Remaihi.
- Nick Vivarelli
Strand will focus on the history of Cannes for the festival’s 70th anniversary.
Cannes Film Festival (May 17-28) has unveiled the line-up for this year’s Classic programme, with 24 screenings set to take place alongside five documentaries and one short film.
Documentaries about cinema including Filmworker - which focuses of Stanley Kubrick’s right hand man Leon Vitali, who played a crucial role behind the scenes of the director’s films - as well as Cary Grant doc Becoming Cary Grant, are set to feature.
This year’s selection is also set to focus on the history of the festival itself, with prize-winning films such as Michelangelo Antonioni Grand 1966 Prix winning film Blow-Up and Henri-Georges Clouzot’s Le Salaire de la peur (The Wages of Fear) from 1952 screening.
While Cannes Film Festival premieres some of the best new films of the year, they also have a rich history of highlighting cinema history with their Cannes Classics line-up, many of which are new restorations of films that previously premiered at the festival. This year they are taking that idea further, featuring 16 films that made history at the festival, along with a handful of others, and five new documentaries. So, if you can’t make it to Cannes, to get a sense of restorations that may come to your city (or on Blu-ray) in the coming months/years, check out the line-up below.
Presented by Ina. »
- Jordan Raup
A program aimed at connecting promising American and Israeli filmmakers, the inaugural edition of the Bloom/Spiegel Partnership is set to introduce its eight fellows at Tribeca Film Festival.
The Bloom/Spiegel Partnership, an alliance between New York’s Ifp Marcie Bloom Fellowship in Film and Jerusalem’s prestigious Sam Spiegel Film School, selected Albert Tholen, Antoneta Kusijanovic, Elianette Foumbi, Richard Miron, Ariel Richter, Benjamin Domenech, Eitan Mansuri and Stav Meron to participate in the five-day program.
As part of the initiative, the four Sam Spiegel film grads (Richter, Domenech, Mansuri and Meron) traveled to New York to meet with their American counterparts (Tholen, Kusijanovic, Foumbi, Miron), as well as participate in Tribeca festivities. Hosted at the New York offices of production/financing banner Tadmor, the program allows its participants to meet with several professionals, including Anthony Bregman, Nick Britell, Tristine Skyler, Sarna Lapine, David Kaplan, Alysia Reiner, Sonia Hines, »
- Elsa Keslassy
In order to make accurate predictions about the potential Cannes Film Festival lineup, it’s first important to explore which films definitely won’t make the cut. The glamorous French gathering is notorious for waiting until the last minute before locking in every slot for its Official Selection. That includes competition titles, out of competition titles, a small midnight section and the Un Certain Regard sidebar. Cannes announces the bulk of its selections in Paris on April 13, but until then, there are plenty of ways to make educated guesses. Much of the reporting surrounding the upcoming festival selection is simply lists of films expected to come out this year. However, certain movies are definitely not going to the festival for various reasons.
- Chris O'Falt, Eric Kohn, Jude Dry, Kate Erbland, Steve Greene and Zack Sharf
They will join previously announced mentor-speakers Iranian director Asghar Farhadi, French auteur Bruno Dumont and creative documentarian Rithy Panh at the third edition of the bespoke event, running March 3 to 8, 2017.
Colourful Portuguese producer Paulo Branco – who is based between Paris and Lisbon – has more than 300 producing credits to his name, amassed over four decades, working with the likes of David Cronenberg, Wim Wenders, Chantal Akerman, Alain Tanner, Werner Schroeter, Olivier Assayas, and Cédric Kahn.
“Paulo Branco is one »
8 items from 2017
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.See our NewsDesk partners