Ahead of the 45th edition of the Cairo International Film Festival (CIFF), Mohamed Sayed Abdel Rahim, head of Cairo Industry Days (CID), sat down with The Film Verdict to discuss the revitalized vision and new initiatives of this year’s CID. Under Abdel Rahim’s leadership, CID seeks to foster openness, build strong partnerships, and nurture fresh talent. This year CID highlights a collaborative spirit, bringing together local and international filmmakers, and supports emerging Arab talent through workshops, mentorships, and the much-anticipated revival of the Cairo Film Market. In this conversation, Abdel Rahim shares insights into the strategic shifts, industry connections, and aspirations shaping CIFF’s evolving impact on regional cinema.
TFV: As someone who worked for years in various Egyptian film festivals in addition to your work as a critic and journalist, what changes and projects did you want to implement as Head of CIFF’s Cairo Industry Days (CID)?
As a management taking over after a postponed edition, we had to inherit some elements from the previous management. The honorees for the edition are the same. Almost one third of the juries are the same. 5% of the films that were supposed to premiere in the last edition chose to be with us this year in Cairo. Projects in development as well, but now these projects have entered a new phase, in post production for example. 20% of the workshops are also from last year. This encouraged us to think big. Now we have 18 projects in development in the CID so as to celebrate 10 years of the Cairo Film Connection.
A major highlight this year is the revival of the Cairo Film Market. While not entirely new to the festival, the market had been on pause for several years, and bringing it back felt essential, especially at a time when there’s a pressing need to support the Egyptian film industry. In recent years, there’s been a sense that Egyptian cinema is losing ground to other regional players. Reviving the market is a direct response to this, aimed at reinvigorating Egypt’s role in regional cinema.
Another significant step is the increased collaboration with countries in the region, particularly Saudi Arabia. A large Saudi delegation is participating in the festival, opening doors for partnerships with Egyptian companies through co-productions, Egyptian-Saudi films, and the exchange of film projects. This renewed cooperation strengthens cinematic ties between Egypt and the Gulf, fostering a shared vision for the future of Arab cinema.
TFV: What was the backstage process of inviting Argentine-Italian filmmaker Gaspar Noé to give a masterclass in the festival? His name trended in Egypt due to his explicit films. Were there any difficult negotiations with the censorship committee because of this ?
MS: I got in touch with him through a middle man, and it took some time. We presented our invitation and negotiated with him to come. He is a very humble person beyond what you can imagine, unlike other filmmakers. He agreed, and had no demands, unlike others who may be much less important than he is. Honestly I didn’t imagine that his name would go viral in Egypt for a week after the press conference. I thought that some cinephiles, maybe 100 will attend the master class, but now everyone wants to get a ticket to attend. I anticipate that the hall will be packed.
There were no problems with the censorship committee to be honest, as they do not have a say on the masterclasses; on the other hand they have a say on the films. In fact, Gaspar Noé’s film Vortex (2021) had its MENA premiere at CIFF and there was no problem. I am happy with this selection so as to keep the same momentum that CID guests in the past had, such as Bella Tar and Costa Rica. Next year the plan is to invite even more names that people seek to learn from and listen to their experience.
TFV: Can you tell us more about the collaboration with the Egyptian Chamber of Cinema [part of the state controlled Federation of Industries]?
MS: This collaboration was based on the fact that I wanted CID not to be a ghetto like some past editions, meaning we aim this year for the events to be more open to everyone. Filmmaking and the film industry is not exclusive to art house or festival films, on the contrary it should be inclusive to all films including commercial and blockbusters. Egyptian Chamber of Cinema which includes all Egyptian companies that are specialized in different aspects of filmmaking. Actually they were surprised that we are inviting them to be part of the festival because they are used to the Cairo Film Festival being exclusive to a certain group. I hope this will end, and this openness will continue in the coming years.
TFV: Throughout the ten day programme, what are the masterclasses and panels that you recommend?
MS: Generally this year, we have managed to make the programme three times bigger than the 2022 CID programme, including masterclasses, workshops, and panels. For sure the audience and guests will have to make hard decisions to choose what to attend. We tried not to plan events at the same time, but there are screenings that are happening at the same time. We tried to provide an exciting programme and diverse to appeal to different audiences and tastes. I hope this will happen, and based on it next year we will know more and develop the programme more.
There is a highly recommended exhibition based on a collaboration between the festival and Dolby. It is a 15 minute insightful session which will delve into Dolby’s cutting-edge advancements in sound technology and how it is transforming the cinematic experience. Attendees will gain a deep understanding of Dolby Atmos and its applications in film production, followed by an engaging Q&A session
In addition, a session that I will really recommend is the “How to pitch you film in 20 Minutes Only?”. It is In partnership with Netflix and will be run by Director, Creative Talent Investment & Development for Netflix International Originals Chris Mack. In the workshop, filmmakers will master structuring a 20-minute pitch that delivers the essential, engaging details to spark a buyer’s interest.
TFV: What are the professional workshops that are going to be held this year?
MS: There are several important workshops this year. There is the usual pitching workshop, in addition to script development for the first time, acting for professionals, and one for sound design. This is the first time in the festival that there is a workshop for sound design and engineering. There was a call for all these workshops and out of hundreds of applications we chose some participants. Also the Gaspar Noé masterclass is a must attend, even for me.
