Les cinéastes du Moyen-Orient et d’Afrique du Nord font face à des défis croissants en raison des conflits dans la région. Malgré une solidarité grandissante au sein de la communauté créative, la politicisation des scènes internationales complique la production. Des producteurs, comme Alaa Karkouti et Mohamed Hefzy, cherchent des solutions innovantes pour continuer à réaliser des films, même avec des budgets accrus et des incertitudes. Les inquiétudes portent notamment sur les collaborations européennes et la censure potentielle des films engagés.
Amid rising conflicts in the Middle East and North Africa—from Palestine through Yemen to Sudan—filmmakers are witnessing a surge in solidarity within the local artistic community, striving to keep the film industry alive in the region. However, producers and directors continue to face challenges as they navigate a tense and politicized international landscape, expressing worry over the future of an industry that has seen unexpected growth over the past five years.
“We find ourselves in a very frightening situation right now, and the end is uncertain,” stated film producer Alaa Karkouti, the CEO and co-founder of MAD Solutions, the leading distributor of Arabic films in the Arab world. “There’s the challenge of local productions, but any foreign productions will also consider the political climate before opting to work in this region. This remains a pressing global issue.”
Karkouti, who was responsible for distributing Mohamed Kordofani’s « Goodbye, Julia »—the first Sudanese film to be featured in the Official Selection at the Cannes Film Festival in 2023—pointed out how this milestone opened the doors for Sudanese filmmakers, only for those doors to be shut again due to the ongoing civil war. “There were numerous promising projects coming out of Sudan, but it’s now impossible to film in the country.”
“I’ve stated this numerous times and I firmly believe it: we are in the Golden Age of Arab cinema. But stability is key,” Karkouti emphasized. “While talent, funding, and passion are crucial, if there is no stability, it renders everything else ineffective.”
Prominent producer Mohamed Hefzy, CEO of Film Clinic, shared with Variety that he is working on a Sudanese project that had to be relocated to Egypt due to the war. “This is just one of many instances where individuals come together to devise solutions to complete films. Filmmakers find innovative ways to adapt. As the saying goes, necessity is the mother of invention; you cannot simply cease storytelling, so we find ways to adapt.”
Hefzy has encountered significant obstacles while working on Cherien Dabis’s “All That’s Left of You,” which is set to premiere at the prestigious Atlas Workshops during the Marrakech Film Festival. “After October 7, we had to pivot our plans. Finding a new filming location was challenging not only because it increased the budget significantly but also because we were under pressure to quickly secure additional funds. It’s been a considerable struggle.”
Laila Abbas, whose second feature « Thanks for Banking With Us! » recently premiered in the Arab region at the El Gouna Film Festival, candidly discusses her challenges as a Palestinian filmmaker, as the future of her career becomes increasingly uncertain.
“We must be realistic. I had two stories in mind for my upcoming films, but now I need to reconsider them,” she expressed. “I have to be truthful with myself; the landscape of collaboration has shifted dramatically. ‘Thanks for Banking With Us!’ is a co-production between Palestine and Germany, and I’m uncertain if I can pursue that path anymore. People are quite fearful of anything related to Palestine at this point. We are navigating an entirely new reality.”
Abbas also spoke about her experience attending festivals with her film during such turbulent times in her homeland. “Even the smallest choices become incredibly challenging. How do I present myself? How can I even think about grooming for film festivals? It feels inappropriate. I feel compelled to wear black. I’m doing my best to adapt, but it’s incredibly testing.”
Given the heavy politicization of conflicts in the region, filmmakers worry about losing their ability to co-produce with European partners, which remains a common practice in the Middle East and North Africa. As a result, some in the industry are exploring local co-productions, with neighboring countries collaborating to tap into regional funding while sharing expertise.
“Independent filmmaking in this region has long been reliant on European co-productions, but with the current political climate, the question arises: will films face censorship?” asked Rula Nasser, producer and founder of The Imaginarium Films in Jordan. “I don’t believe people want to address the conflict. Ideological divisions are deepening, yet the essence of our work transcends mere storytelling. It is also about documenting present-day realities that will persist beyond today.”
As uncertainties loom over the future of filmmaking in the MENA region, there’s growing concern about the fate of films that do manage to get produced. The prevailing sentiment in Gouna among leading industry figures is that major festivals are increasingly hesitant to include overtly political films addressing ongoing conflicts, while distributors are becoming more cautious.
“Festivals often serve as the only