This week at the El Gouna Film Festival, the CineGouna Platform (CGP) took center stage, recognizing outstanding projects at different stages of development with top prizes. Among the winners was Palestinian filmmaker Amer Shomali, who secured a $15,000 prize for his project in development, “Theft of Fire.” Shomali’s hybrid documentary explores the untold tale of an art heist designed to reclaim antiquities pilfered from Palestinian lands by former Israeli Defense Minister Moshe Dayan—an incident characterized as an art heist “that never happened.” While still in the early stages of development, the film, produced by Rashid Abdelhamid, has already secured a Canadian co-production.
In the realm of postproduction, “She Was Not Alone” claimed the equivalent CGP Award. Directed by Iraq’s Hussein Al-Asadi and produced by Huda Al Kadhimi and Huma Gupta, this documentary unfolds a character portrait of Fatima—a nomad tending to her buffalos in the poisoned marshes of Iraq. The film delves into the challenges she faces as her island and traditional way of life are imperiled by the impacts of climate change.
The French/Egypt Institute bestowed a $10,000 grant upon “The 4 Choices of Albert,” directed and produced by Hala Galal. Simultaneously, another $10,000 was awarded to “A Tale of a Feather and a Fish,” directed by Ahmed El-Hawarey and produced by Hala Lotfy, courtesy of Blue Bee Productions. These commendable contributions were part of a more extensive distribution of awards, either in cash or in-kind support, provided by various sponsors. Notably, 19 projects—12 in preproduction and seven in post—had the honor of being selected to participate as part of the CGP and the CineGouna Springboard.
A distinguished jury, comprising Egyptian director Hala Khalil, French independent producer Guillaume De Seille, and Jordanian TV and film executive George David, had the formidable task of choosing the winners. Adding to the collaborative spirit, three mentors—Palestinian/Jordanian writer/director Najwa Najjar, French producer Marie Balducchi, and Lebanese writer, curator, and consultant Chadi Zeneddine—stood ready to provide guidance and support to the aspiring filmmakers.
Reflecting on the festival’s journey since its inception in 2017, Ahmed Shawky, head of CineGouna Springboard, expressed satisfaction with the remarkable progress. Over the six editions, 120 projects have found their way into the festival, with only one project dropping out due to a postponement. Shawky underscored the diversity of the projects, spanning eight different Arab countries—Egypt, Algeria, Tunisia, Sudan, Palestine, Lebanon, Yemen, and Iraq. The selection included both fiction and documentary works, as well as hybrid projects. He took pride in the films addressing personal and political issues and highlighted the inclusion of a queer project from Lebanon, further enriching the festival’s tapestry.
A notable mention among the diverse projects was “So the Lovers Could Come Out Again,” a Lebanese tale that explores the aftermath of the civil war through the lens of two snipers sharing a house. This project, produced by Christelle Younes and directed by George Peter Barbari, raises existential questions both literal and philosophical. Barbari, known for his debut film “Death of a Virgin and the Sin of Not Living,” showcased at the 2021 Berlinale’s Panorama sidebar.
As the festival continues to carve its niche, the question arose about its relationship with the emerging Red Sea Film Festival. Shawky acknowledged the overwhelmingly positive scenario, with increased submissions and additional funding sources from Red Sea, Neom, and AlUla. He highlighted their supportive approach, citing a case where a filmmaker opted for the Red Sea Souk and received encouragement from CineGouna. However, Shawky questioned the logic behind restricting filmmakers from pitching elsewhere, emphasizing the collective goal of supporting films.
The El Gouna Film Festival and the CineGouna Platform celebrated cinematic excellence, fostering a diverse array of storytelling and supporting projects at various developmental stages. The festival’s collaborative and supportive stance, coupled with its commitment to inclusivity and exploration of diverse narratives, ensures its continued contribution to the dynamic landscape of Arab cinema.
