‘Snow White,’ ‘Aicha,’ ‘Abdo and Saneya’ Among Bold Films From Arab World at Red Sea Film Festival

by

As a seasoned movie buff with decades of global cinema exploration under my belt, I can confidently say that the Red Sea Film Festival is rapidly becoming a beacon of creativity and innovation in the world of independent filmmaking. Antoine Khalife, the festival’s director of Arab programs and film classics, has an uncanny knack for selecting films that push boundaries and defy conventions.

The revival of independent Arab films is being confirmed by their success, both at festivals and commercially, according to Antoine Khalife, director of Arab programs and film classics for the Red Sea Film Festival. He uses the example of the Egyptian thriller “Flight 404,” which has earned more than $4 million in Saudi Arabia this year, as evidence of this trend.

Khalife commends the contemporary vibe of current Egyptian independent films and has opted for two productions in this year’s lineup: “Finding Refuge for Mr. Rambo,” a story about a man forced out of his home who searches for a new place with his faithful canine companion, and “Snow White,” centering around a woman with dwarfism who nurtures an online bond with a man. As Khalife describes, “These films are strikingly contemporary and unconventional, not just delivering a message.

The inaugural film at the Red Sea Film Festival is a joint Saudi-Egyptian production titled “The Story of Daye’s Family.” This heartwarming tale centers around an 11-year-old Nubian albino boy who embarks on a journey to Cairo, where he competes in an Egyptian adaptation of the popular show, “The Voice.” Notably, the film’s leading actress, Aseel Omran, boasts a massive following of 7 million in Saudi Arabia and wields significant influence.

In the Arab Spectacular section of the Red Sea Film Festival, Khalife opted for the Egyptian movie “Abdo and Saneya,” a classic black-and-white silent flick that tells the tale of an Egyptian peasant duo venturing to New York. As Khalife shared, the choice was made to pick something inventive. They were not interested in a conventional commercial film.

This year, I’ve found myself captivated by the independent films hailing from North Africa, and I must say, the submissions from Tunisia have truly stood out. Movies like ‘Agora’ and ‘Red Path’, which graced the screens in Locarno, left a lasting impression on me. However, it was ‘Aicha’ that really stole my heart – a tale about a young girl who transforms her life by adopting a new identity to journey to Tunisia. The contemporary narrative style and powerful themes in these stories make them incredibly appealing.

The upcoming Red Sea Festival will unveil a brand-new, specially constructed movie theater within the freshly revamped Al-Balad district in Jeddah. As per Khalife’s statement, this cinema is intended for hosting film retrospectives featuring Arab and international filmmakers, special programs, independent film releases, and events dedicated to documentaries or short films.

The festival’s official selection is completely independent from projects chosen for the Red Sea Lodge or Red Sea Fund, but several projects have come through this eco-system. For example, Khalife says he’s very proud of the success of the Jordanian film “Inshallah a Boy,” that was among the first films supported by Red Sea Lodge and screened at Cannes in 2023, and was then released in several European countries.

Khalife points out that one significant advantage of the Red Sea support system is its aid to local filmmakers in developing their scripts. He explains that Saudi filmmakers possess a wealth of stories about the nation’s history and often feature antiheroes as main characters, such as in last year’s successful movie ‘Mandoub’ and this year’s official selection film ‘Saify.’ These anti-hero characters differ markedly from the typical Egyptian comedy protagonist.

Since cinemas were prohibited in Saudi Arabia for a span of 35 years until 2018, local filmmakers tend to gravitate towards narratives from the past, particularly those set during their formative years between the late 1980s and early 2000s. Numerous local films concentrate on family-oriented stories, often filmed within residential settings. Khalife uses “Mera Mera Mera,” a short film about a man in a neighborhood slated for demolition who mysteriously loses his ability to speak except for the words Mera Mera Mera, as an illustration. He observes that many young Saudi filmmakers are discussing themes of solitude, sorrow, and despondency.

Comedies made within Saudi Arabia have also been quite popular and successful. As Khalife points out, many of these hit movies were shown at the Red Sea Film Festival, such as the recent example of “Sattar.

This year, we’re showcasing an intriguing comedy titled ‘Lail Nahar.’ The story revolves around an opera singer who gained fame through social media but faces potential cancellation due to accusations of racism. In an attempt to clear his name, he announces his intention to marry a woman of African descent, leading to a series of mishaps. Consequently, we’ve arranged a special film screening event for the movie.

While a considerable number of Saudi films delve into historical narratives, there are notable exceptions like the socially-critical satire “Fever Dream,” created by the Godus Brothers. This production boasts an array of visual effects and was previously showcased at the Red Sea Film Festival last year.

Khalife underscored that the festival’s film selection is uncensored; however, to be screened in Saudi Arabia, these films require a distributor who will obtain an additional certificate. This principle of non-interference with films is crucial for us, as we exhibit numerous movies that challenge societal norms and tackle relevant contemporary issues. I believe this is why North African filmmakers are eager to submit their work to us, as we seek daring creative perspectives. For instance, from the start, we’ve showcased many thought-provoking Moroccan and Tunisian films, and this year, we also have two Algerian films on our list.

Despite the intricate political landscape of the Middle East, Khalife remains undeterred when it comes to choosing daring, inventive concepts. “Many inquire why I don’t show more Lebanese or Palestinian films. My response is straightforward – it boils down to the films we receive. The ongoing military conflicts in the region won’t discourage us from choosing films. In fact, this year, a Palestinian film titled ‘To a Land Unknown’, which is having its MENA premiere at the festival, is competing. As for Lebanese films, I don’t have any in competition because I didn’t find anything that appealed to me. Conversely, we have chosen several Egyptian films this year, as they caught our attention.

The Red Sea International Film Festival is also aiming to strengthen its connections with Asian countries. Khalife points out that Saudi Arabia enjoys robust ties with several Asian nations, notably Indonesia, Japan, South Korea, and China. “There’s a keen interest among local viewers for Asian productions,” he says. For instance, animation films have consistently been well-received here, and I think our bond with Japan could be utilized to develop this genre. Approximately three years ago, we collaborated on an animation film titled ‘The Journey,’ a joint production between Saudi Arabia and Japan.

Khalife emphasizes that the primary concern for Saudi filmmakers should be discovering fresh, cutting-edge narrative styles. “Money isn’t everything; we also need to foster creativity. Without talented directors, compelling storylines, and innovative techniques, our films won’t matter. We must keep refining our scripts and facilitating their distribution in independent cinemas. I firmly believe this is a pivotal time for Saudi filmmakers to lay the groundwork for a robust national cinema.

Read More

2024-12-04 00:17