The Qumra workshop organized by the Doha Film Institute concluded on Wednesday, marking the end of six days filled with masterclasses, workshops, and mentoring sessions in Doha, Qatar. These activities aimed to bridge the Arab filmmaking community with the global film industry. Despite regional conflicts and trade tensions, the 11th edition of this event maintained a positive vibe.
At Qumra, derived from the Arabic word thought to mean “camera,” approximately 300 major figures within the industry – such as sales agents, producers, and top film festival programmers – gathered in Doha, a city that served as a significant mediator during negotiations between Hamas and Israel. This gathering showcased a fresh batch of debut and follow-up works predominantly from Arab directors, encompassing 49 projects; 27 of these are feature films, either still in development or post-production.
Numerous productions receive backing from the Doha Film Institute, an organization that offers a film grant and workshop scheme, frequently resulting in movies chosen for prestigious film festivals. A prime example of such success is Morad Mostafa’s “Aisha Can’t Fly Away,” a debut Egyptian film, which will be unveiled in the Un Certain Regard section at Cannes this year. This year marks the 15th anniversary of the DFI.
Today, as we mark this significant achievement, we find ourselves standing at a perplexing intersection where ongoing genocides continue to unfold. In her opening address, DFI CEO Fatma Al Remaihi stated that the assurances of peace and truce are often just facades, concealing continued acts of inhumanity and efforts to silence voices in the region.
As a supporter, I’m thrilled to share that the artistic visionary behind this event is none other than the illustrious Palestinian director, Elia Suleiman. Known for his poignant films that delve into the complexities of the prolonged Arab-Israeli conflicts and their repercussions, his works such as “Divine Intervention,” “The Time That Remains,” and more recently, “It Must Be Heaven,” which debuted at Cannes in 2019, have left a profound impact on global audiences.
Notable Palestinian projects showcased at Qumra include the science fiction drama “In Memory of Things to Come,” which is a debut feature by Danish-Palestinian artist Larissa Sansour. This project is being produced by Anna Köhncke, known for her work on “The Act of Killing,” as well as Monica Hellström, who has been nominated for multiple Oscars with films like “Flee” and “A House Made of Splinters.
Films showcasing elements characteristic of Arabic cinema, set to appear on the film festival circuit soon, include “Marie & Jolie” by Erige Sehiri, which portrays the lives of three Ivorian women living in Tunisia across different generations, residing in a house that serves as both a home and an evangelical church; and “The President’s Cake,” directed by Hasan Hadi for his first time, revolving around a 9-year-old girl who is compelled to bake a cake for Saddam Hussein’s birthday.
In summary, Hanaa Issa, Director of Film Funding at DFI, emphasized a growing sense of self-reliance within the Arab film industry. This independence is marked by reduced reliance on European sales agents and production companies. Instead, Arab directors and producers are finding ways to finance their films independently, thanks to local private investments and increased funding from streaming platforms and broadcasters. This new financial freedom allows them to tell the stories they wish to tell.
Mentors at Qumra were legends like the renowned Hong Kong director Johnnie To, skilled Mexican costume designer Anna Terrazas, talented cinematographer Darius Khondji, and Walter Salles who had just won the Best International Feature Oscar for “I’m Still Here.
Salles equated Qumra to the Sundance Institute and encouraged emerging Arab film directors to emulate his path by creating films that address injustices. “Filmmaking is a means to build memory and combat its obliteration,” he asserted. “Regardless if you capture it with an iPhone or produce a full-length movie, it’s an extraordinary instrument for resistance.
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2025-04-10 19:50