TFV highlights Arab talent with Next Generation Awards

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VERDICT: The Film Verdict chief critic and editor Deborah Young addressed the importance of the awards in celebrating exceptional MENA film talent.

The 45th Cairo International Film Festival announced on Tuesday the winners of the newly introduced Next Generation Awards, in collaboration with The Film Verdict during the Cairo Industry Days (CID), held on the sidelines of the Cairo International Film Festival.

Festival director Essam Zakaria opened the ceremony saying that the goal in the 45th edition was to collaborate with several international press representatives, and The Film Verdict, with its commitment to supporting cinema, was an essential choice.

“These awards aim to support the festival’s mission of discovering emerging young filmmakers, in collaboration with The Film Verdict”, Zakaria added.

The Film Verdict chief critic and editor Deborah Young addressed the importance of the awards in celebrating exceptional contributions to the world of filmmaking in the constantly changing Middle East and North Africa. The awards were given to three emerging talent and an established film professional.

This year’s honorees were Egyptian director Hani Khalifa, Saudi film critic and journalist Ahmed Al-Ayyad, Egyptian director and screenwriter Noha Adel, and Jordanian actress Rakeen Saad. A panel discussion moderated by Deborah Young explored how emerging and established filmmakers can collaborate, inspire, and strengthen the bridge between generations in the film industry.

Director Hani Khalifa, whose film Flight 404 starring Mona Zaki is Egypt’s bid for the 2024 Oscars, started the discussion asserting that the best way for a director to learn filmmaking is the way that works best for them. “With today’s technology, anyone with a mobile phone can present their ideas and showcase unique perspectives. There’s no fixed formula or guidebook for becoming a filmmaker.”

He added that he had a traditional filmmaking education. “Back then, we understood that cinema came first, and then art theory followed. In those days, we worked under specific constraints, like the rules or dogma, and we had to wait to see the results. It was a completely different world. There were secret techniques — we learned how to read light on faces, so we could see its effect on the screen. These technicalities had a kind of magic, though they also had their pros and cons.”

Today, students have more access and are more involved in the filmmaking process, Khalifa added. “Interestingly, it’s now us, the older generation, learning from the younger one. They are courageous in reflecting on their problems, and this enriches and inspires us.”

“Our world today is highly materialistic and capitalized, but the freshest ideas come from these young minds,” he added.

On the other hand, director Noha Adel, whose film Spring Came Laughing is competing in the official competition of the Cairo festival, said that her first feature film was a trial and a new experience for her. “ I had never seen a director on set before, so I just did what felt right. I worked with non-actors who didn’t know that I didn’t know the basics. Everything I did on set was spontaneous. My focus was on telling the story and planning the shoot so we could finish the day.”

Jordanian actress Rakeen Saad, the female lead in Seeking Haven for Mr. Rambo, screened at the recent Venice Film Festival, shared her experience on acting. Having academically learned acting and attended film school as well as several workshops, she expressed that she felt “like I exist in a different world when I am on set. I wanted to be on location, observing how the set was running. That process became a part of me—it’s where the entertainment lies. I’m always learning.”

On her beginnings, Saad said that “I remember being told to stand on the mark, which seemed like such a small detail, but I couldn’t get it right. Over time, I learned to do it naturally without even thinking about it. The process all ultimately comes down to the director’s vision. Even now, I am still learning, refining my approach, and finding new ways to grow in this journey.”

Saudi film critic Ahmed Al-Ayyad, one of the most active Arab critics through his contributions to various news media, commented on the Saudi industry, explaining that “the film industry in Saudi Arabia officially started in 2018, but its beginnings can be traced back to 2005 to the Dubai Film Festival , where several directors produced significant films.”

“For a long time, audiences in Saudi Arabia primarily watched foreign and Egyptian films. However, the cinematic community has grown more engaged and actively involved in international film festivals,” Al Ayyad, who is the editor of the rising website called fasllah.com said, adding that Saudi filmmakers have been present at festivals like Toronto and Cannes, showcasing their work and gaining recognition.

He added, however, that this presence is not solely due to state support but reflects the growing interest of the local cinephiles. And on the market for Egyptian cinema, Al Ayyad believes that “Egyptian films have always been a vital part of Saudi Arabian culture. Classics Egyptian productions continue to resonate with Saudi audiences and remain an enduring cultural influence to this day.”

Hani Khalifa shared the long journey behind Flight 404 (previously titled Cairo-Mecca), a film that began in 2011 when screenwriter Mohamed Ragaa offered him the script. Together, they envisioned Mona Zaki in the lead role, back when she wasn’t yet the star she became after her film Ehky Ya Shahrazad. The project faced numerous delays until it was finally completed in 2020, thanks to producer Mohamed Hefzy. Khalifa praised Hefzy as one of Egypt’s bravest producers, noting that many others showed initial interest but later backed out.

Production began in 2021, but Khalifa admitted they were nervous about how audiences would react, given the film’s themes. “It’s not much different from the films we made in the 2000s,” he said.

Reflecting on the film’s screening in Jeddah, Khalifa expressed his happiness with the reception, especially as Saudi audiences, used to comedies, embraced the film’s tragedy and social commentary. “There’s a growing fan base in Saudi Arabia, and this new market gives producers the chance to earn more and fund future films,” he said.

Khalifa also highlighted the challenges in Egypt, particularly the limited number of film theaters. Despite this, he’s optimistic about Flight 404 and is looking forward to its upcoming screening in California prior to the Oscars, in front of American audiences.

Meanwhile Adel said her film has yet to receive a commercial screening. “We are still waiting,” she said, adding that she prefers independent film theaters or art house cinemas. “I’m thinking of the moment and taking it day by day. Hopefully, the film will find its way into art houses, since it doesn’t have stars but the story is interesting. I hope everyone will love the film, but I don’t focus on the box office.”

Reflecting on his early years, Saad recalled being an avid cinema-goer, watching Egyptian, Arab, and American films. “Once I started working in the industry, courses and workshops shaped my approach. Teachers, mentors, and trainers influenced me greatly.” She also mentioned learning discipline from her theater school days, describing it as a strict yet essential foundation. “We were young and free, but we had to be focused, manage our talent, and respect time.”