Red Sea Programmer Kaleem Aftab Seeks to Make the Festival a ‘Home’ for World Cinema

As a seasoned movie enthusiast who’s traversed countless film festivals around the globe, I can confidently say that the Red Sea Film Festival is truly carving out a unique niche for itself in the world of cinema. The choice of “Home” as this year’s theme, nestled within the heart of Jeddah’s Al-Balad district, resonates deeply with me – not just because I find myself drawn to places steeped in history and culture, but also because the festival is becoming a beacon for filmmakers from Africa, the Arab world, and Asia.

I’m thrilled to share that “Home” is the focus of the 4th edition of the Red Sea Film Festival, as it makes its way back to its roots, but with a modern twist! The event is now being held at a bespoke venue within the beautifully restored Al-Balad district in Jeddah – a UNESCO World Heritage site. As a fan, I can’t wait to immerse myself in this rich cultural experience!

As a passionate film enthusiast, I find myself thrilled about this year’s festival theme being “home.” With our growing role as a significant platform for African, Arab, and Asian cinematic voices, it feels like we’re extending our own film family beyond boundaries. The Red Sea Film Foundation’s continuous efforts have ensured that the festival’s influence isn’t just confined to a single event, but is felt all year round.

He clarifies that our foundation is more about what we can accomplish beyond just hosting a festival. He mentions that 11 out of the 122 films being screened this year were nurtured within our eco-system, and among them is the opening film, ‘The Tale of Daye’s Family,’ a joint production between Saudi Arabia and Egypt.

He states that we stand out as the premier destination within the Middle East and North Africa region for thought-provoking and easily accessible films, offering audiences a chance to shape their own cinematic preferences.

Aftab is thrilled that the festival has caught the attention of global filmmakers, enabling us to showcase the premiere of Gabriele Salvatores’ “Naples-New York,” adapted from Federico Fellini’s screenplay, as well as screen movies like R. T. Thorne’s dystopian thriller “40 Acres,” which first appeared at Toronto, Sarah Friedland’s “Familiar Touch,” which garnered three awards at Venice, and Guan Hu’s “Black Dog,” which won Un Certain Regard at Cannes.

Currently, the Red Sea Fund plays a crucial role in numerous Saudi co-productions, providing financial backing to significant local box office successes like “Mandoob,” which debuted globally at Toronto, and the genre movie “Naga.” The fund collaborates closely with distributors not only within Saudi Arabia but also across the Middle East and North Africa (MENA) region.

Aftab remarks that the powerful unity we’ve established among our various functions is what sets Red Sea apart. It seems as though we’re already a model for other organizations and events,” he states.

This year’s festival features several films, among them “To Kill a Mongolian Horse,” which I was fortunate enough to discover during its rough-cut phase. It was selected as one of our Asian projects due to its requirement for completion funding at that time.

Aftab believes the festival significantly contributed to exposing Saudi viewers to a diverse range of movies, particularly those from Africa, the Middle East, and more recently, Asia.

Saudi Arabia, home to around 35 million diverse individuals, presents an opportunity for us to expand the selection of activities both domestically and across the Middle East and North Africa (MENA) region. Our primary objectives are twofold: firstly, to promote and nurture cinema as a whole; secondly, to encourage and cultivate various genres of filmmaking.

Historically, major movies have predominantly originated from India, Egypt, Hollywood, and more recently on television, South Korea through K-Pop. However, if we manage to pique viewers’ interest in diverse cinematic works like the Nigerian films ‘Freedom Way’ and ‘The Legend of the Vagabond Queen of Lagos,’ or the Mexican documentary ‘State of Silence,’ it could lead to unexplored avenues for both audiences and filmmakers.

As a movie enthusiast, I’ve been often questioned about potential issues with censorship in my film selections for the international program. To set the record straight, let me clarify that I’ve never asked a director to trim their films for this program. Instead, I strive to curate a selection that challenges boundaries while serving as a connection point for diverse cultures. My choices are guided by what I believe will excite our audience. In essence, I aim to screen films that can thrive in both art-house and commercial circuits, but this duality never restricts my freedom of choice.

As a cinephile, I found myself captivated by the audacious perspectives presented in the 16 films gracing the Official Selection. Among these thought-provoking cinematic masterpieces, a few stood out to me. The Mongolian-Chinese film “To Kill a Mongolian Horse” delves into the complexities of border disputes between the two nations, while the Iranian production “6 AM” tackles the intricate issue of state control. The Chinese movie “My Friend An Delie” offers an intimate exploration of trauma, and the Bangladeshi social drama “Saba” sheds light on women’s rights in a powerful way. Lastly, the Cape Verdean picture “Hanami” poignantly addresses the allure of emigration. Each of these films provides a unique lens through which to view the world, making this year’s selection an unforgettable cinematic journey.

He states that “Sima’s Song,” an Afghan film directed by Roya Sadat, beautifully encapsulates this year’s theme for him. He explains that it suggests women’s rights may have advanced under the Russian regime, but were subsequently regressed due to American geopolitical intervention.

Aftab believes that movies from Africa, Asia, and the Arab world hold significant potential for growth in both festival and box office success. He explains that the initiatives of organizations like the Red Sea, particularly in Africa, and their future plans in Asia, are offering a unique perspective, providing an alternative viewpoint on the world. He anticipates this to become increasingly intriguing as time passes.

The Red Sea Film Festival runs Dec. 5-14 in Jeddah, Saudi Arabia.

2024-12-01 14:17

Red Sea Programmer Kaleem Aftab Seeks to Make the Festival a ‘Home’ for World Cinema

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