The masterclass by Academy Award nominated documentarian Joshua Oppenheimer (The Act of Killing, The Look of Silence) on the final day of the Doha Film Institute’s Qumra event offered deep insights into documentary filmmaking and an examination of the nature of testimony in his films.

The session opened with Oppenheimer discussing his decision to become a documentary filmmaker which came to him in a moment of clarity on a glacier in Northern Pakistan. After spending 6 months in India working on a project in Calcutta where street theatre was being used as a political organizing tool, Oppenheimer was trekking in Northern Pakistan and had an epiphany while reflecting on the intense emotional experience: “Maybe in that moment, I reckoned that if I became a non-fiction filmmaker I would be able to reflect on these experiences, excavate them and work with them.”

Describing the impact of his mentor, Yugoslav filmmaker DusanMakavejev, Oppenheimer said: “he combined documentary and narrative to great effect and I was always fascinated by this intersection between non-fiction and fiction.”

Renowned for his two Academy Award nominated documentaries that explore the brutal legacy of the Indonesian genocide of 1965-66 through a series of interviews with members of the paramilitary organisationPemudaPancasila, Oppenheimer discussed how he was first drawn to Indonesia to conduct a filmmaking workshop with members of the plantation union. This led to a 13-year journey and two documentaries which he described as “an examination of the abyss that lies between ourselves, and the stories we tell about ourselves.”

The exposé of the regime depicted in his films is notable for the surreal way in which the perpetrators describe and re-enact their actions during the killings - something that Oppenheimer discussed as integral to understanding “how they wanted to portray the events, and how they wanted their own society and the world to perceive these events.” “I never once asked a perpetrator to act anything out, it came from them. They would immediately start boasting about what they had done, they would invite me to the places and launch into these spontaneous shows of how they killed, performing their impunity every time they boasted.”

“I would take pains to say I don’t think this is really re-enactment which is a technique used to dramatise things that are no longer able to be filmed. Fundamentally I think re-enactments are concerned with the past. I would say these films are about the present. The perpetrators are acting out present-day lives, fantasies and stories that allow them to live with what they’ve done.” “I started to realize I was getting something much closer to performance than to testimony. Performance is always intended for an audience. This raised questions of who are these people’s imagined audience? How do they want to be seen and how do they want to see themselves – and how do they really see themselves?”

In discussing these scenes Oppenheimer articulated how the melodrama serves as a form of moral blindness and how in documentary filmmaking dramatisation can trivialize horror: “The melodrama is a form of escapism which takes us away from the singular horror of the situation. It is the same with sentimentality – which is something we often introduce unwittingly in our films. It is always escapist.”

Expanding on this idea, Oppenheimer referenced a quote by Czech author Milan Kundera talking about sadness and how we cry a first tear because we feel genuine emotion, and we cry a second tear because we are aware that the whole world is crying together. He said: “The second tear is the escape from the first tear. In my work I’m trying to bring viewers to a place to experience the third tear – where you can experience the tragedy of the second tear.”

Oppenheimer discussed his 2016 Academy Award nominee for Best Documentary Feature ‘The Look of Silence’, a companion piece to ‘The Act of Killing’, which follows an optician named Adi as he confronts the men responsible for the genocide that killed his older brother. While testing their eyesight, he asks them to accept responsibility for their actions. Oppenheimer discussed the device of the eye test as a mechanism to create intimacy between Adi and the interview subjects and how it then evolved into a broader metaphor for the film, referring to the moral blindness of the perpetrators and their distorted vision of the events of the past.

“There is a beautiful sentence in Qur’an ‘the world is full of signs, you just have to learn how to read them.’ This is an apt metaphor for cinema as a whole but especially in documentary cinema. You’re looking all the time – you know when you find it and you have to find ways of framing it with precision so it is lifted from its physical and narrative context into its metaphorical context.” Elaborating on this concept he said, “There are two things the metaphor must do: it needs to outlast its narrative purpose; and it has to retain enduring mystery. If it can be explained it becomes a symbol.”

Offering further advice on how filmmakers can incorporate metaphor, he said: “While you are shooting and editing, you have to look for these signs, and then you have to tend to them, so that they grow throughout the whole process. As a filmmaker, you have to think: how can I introduce it into other scenes; how can I frame it; how can I photograph it; how can I place it in the editing so that it never becomes a symbol and embodies the meaning of the entire film.”

In discussing the way he depicted the humanity and grace of the family members depicted in ‘The Look of Silence’ Oppenheimer said:  “I realised that this should not simply be a political film or rather, should not appear to be a political film. It should also be a film - and necessarily must be if it is to be genuinely political - about oblivion and memorium. I came to realise whatever truth, justice and reconciliation these films might help engender, it will not make whole all that’s been broken. It will not give back those 50 years to the victims of these killings.”

During Qumra, Oppenheimer was one of five Masters mentoring filmmakers whose projects are participating in an intensive development programme including: Director KarimSayad and Producer JoëlleBertossa for their project ‘Agnus Dei’; Director ElianeRaheb and Producer Lara AbouSaifan for their project ‘The Great Family’; Director ZiadKalthoum and Producer Tobias N. Siebert, for their project ‘Beirut Rooster’; Director Elias Moubarak and Producer Aya Al Blouchi for their project ‘My Uncle the “Terrorist”’; and Director RaedAndoni and Producer PalmyreBadinier for their project ‘Ghost Hunting’.

The other Qumra Masters are screenwriter, director and leading US indie producer James Schamus; Turkish auteur and Cannes Palmed’Or and Grand Prix winner, Nuri Bilge Ceylan; Japanese writer/director Naomi Kawase and revered Russian auteurAleksandrSokurov.

The Doha Film Institute (DFI) in association with the French Embassy in Qatar is organizing a complimentary special screening of Olivier Ringer’s Les Oiseaux de Passage (Birds of Passage) to highlight contemporary films from French-speaking countries. The screening is part of the DFI Cinema series that provides audiences in Doha with an opportunity to access a wider range of films that push the boundaries of narrative and style.

Joining the global celebration of the International Month of the Francophonie, the special screening will take place at the Qatar National Theatre on 18^th of March at 4:00 PM.  

The feature by brothers Yves and Olivier Ringer has received global acclaim for its content and style and is a revered family film about the desire to be normal, the need to be independent and the importance of family, friendship and responsibility. Winner of the Best Film at the Montreal International Children’s Film Festival and the European Children’s Film Association Award, Les Oiseaux de Passage is directed by French screenwriter, director and producer Olivier Ringer.

The third feature by the filmmaking duo for younger audiences, Les Oiseaux de Passage is a realistic children’s film that narrates the story of a young girl Cathy and her friend Margaux who embark on an adventures journey to save a little duckling. Olivier Ringer began his career directing short films and music videos and made his feature film debut in 2006 with ‘Pom, le poulain’. His second feature film "A Pas de Loup" was selected in competition Generation Kplus at the 2011 Berlinale and has screened at sixty international film festivals.

Free seating available on a first come first served basis. For more details, please visit: www.dohafilminstitute.com. The year-round DFI Cinema series is aimed at strengthening appreciation for the arts and contributing to the evolution of Qatar’s rich cultural fabric, and offers audiences in Doha an opportunity to view films that may not necessarily reach commercial cinemas, and exposes them to new tastes and to filmmaking communities that deserve recognition for their immense talent and diversity.

The 2016 Qumra Masters, project participants and international industry experts have feted the second edition of Qumra, the annual industry event by the Doha Film Institute, for catalysing the development of a vibrant regional film industry and shaping the skillsets of emerging talent. More than 100 industry professionals, including international film festival directors, producers, fund managers, script consultants, sales agents, distributors and other experts took part in the event, which delivered meaningful experiences to participants across three main programmes.

The first was a series of Masterclasses by the five Qumra Masters – screenwriter, director and leading US indie producer James Schamus; Turkish auteur and Cannes Palmed’Or winner, Nuri Bilge Ceylan; Japanese Cannes Grand Prix winner writer/director Naomi Kawase; Russian auteur and Golden Lion winner AleksandrSokurov; and two-time Academy Award nominated US documentarian Joshua Oppenheimer. The sessions were open to the representatives of the 33 international projects chosen by the Doha Film Institute for mentoring this year as well as a group of accredited industry delegates from the Qatari film and media industries.

The second component of Qumra was the industry programme for the 33 selected projects in development and post-production, comprised of a series of mentoring and one-on-one sessions with the world’s leading industry experts and a selection of work-in-progress and ‘picture lock’ screenings for projects in their final stages. Over the six day event, the projects participated in a total of 182 match-made meetings with producers and funds; 133 one-on-one bespoke tutorials with experts and mentors; 25 individual ‘Meet the Master’ sessions with the Qumra Masters; seven rough-cut consultations; seven script consultations; 20 working breakfast roundtable sessions; and more than 50 other one-on-one meetings.

The third aspect was the Qumra Screenings – a series of public screenings of works by the five Qumra Masters as well as films supported by the Doha Film Institute grants programme showcased in the ‘New Voices in Cinema’ segment which took place at the Museum of Islamic Art auditorium and were accompanied by question-and-answer sessions with the filmmakers.

A platform for emerging talent

Fatma Al Remaihi, Chief Executive Officer of the Doha Film Institute, said: “Last year, we launched Qumra and embarked on an ambitious journey to provide emerging talent with an industry platform to help them build their skills and foster meaningful industry connections. In its second edition, we are excited to see it define its own niche with experts from across the world taking part in the discussions and asserting their commitment to supporting young filmmakers. We thank them for being here in Qatar and sharing their experience with the spirit of generosity that has come to embody this event.”

“The two major changes we implemented for the second edition were the introduction of the Qumra Shorts programme, a dedicated strand specifically tailored to those working in the short form; and an expanded number of non-fiction films in the selection of projects (increased from 4 to 10 this year), further enhanced by the inclusion of a non-fiction master for the first time. Qumra always was, and will remain dedicated to filmmakers and we look forward to continuing to develop and refine the form of this event each year with their input to meet their needs.”

EliaSuleiman, Artistic Advisor of the Doha Film Institute, reinforced the importance of Qumra as a space to inspire young filmmakers. Speaking during the event, he spoke of the importance of this support at a time when fences and borders are being built, and new ones are springing up all over the world: “The imagination and poetry of our young filmmakers serve as a resistance to these borders. The fact that we are here at Qumra shows the confidence in our filmmakers to break these barriers”.

Masters’ Voice

The concept of Qumra has received high praise from the five Qumra Masters who attended the event, with Joshua Oppenheimer comparing the flair of Qumra to that of the Telluride Film Festival.

“This is a very serious event,” he observed. “I have been to only very few film related events of this gravity. It is a place where people are so serious and so questing to find new ways of telling stories that are adequate to the impossible experiences in this region. Being here and listening to people’s stories and questions, and meeting the Masters, I feel like I attended a masterclass.” He added: “It was so inspiring to see people whose exploration and innovation of the film form was not something done out of intellectual or aesthetic curiosity but out of an urgent need to figure out how they make sense of the disjointed world when they themselves, and their own experiences of the world has been formed by that same violence and rupture.”

Naomi Kawase said that Qumra has a significant role in telling the young generation of the world that they can do something in their own hometowns. “You have filmmakers here from all over the world. And why do they come here? That is because we want to hand down culture to our young generation.” AleksandrSokurov praised the maturity of the filmmakers he mentored during Qumra: “Sometimes it’s very difficult to deal with emerging film-makers because they’re not sure of themselves, they don’t have clear ideas. But here I have seen something very mature, they are really professional,” he said.

Industry appreciation

The importance of nurturing young talent, the top priority of Qumra, was echoed by industry experts too. A script consultant from Australia, Clare Dobbin described Qumra as an ‘amazing opportunity for filmmakers,’ adding ‘it presents delegates a view of how the entire industry works.” Carlo Chatrian, Artistic Director, Festival del Film Locarno, said the interesting mix of the event ensures an enriching experience for the delegates, who can benefit from the diversity while the ‘human experience’ of one-to-one meetings and spending time in an intimate setting helps industry professionals to understand the young filmmakers and their projects better.

A programmer of Buenos Aires International Film Festival, VioletaBava said the unique benefit of Qumra is that it ‘really discusses cinema’ with none of the distractions, and presents the opportunity to meet people who are all on the same page. MatthieuDarras, Artistic Director, Torino Film Lab, said that the intimate setting of Qumra serves in providing ‘an overview of everything about the industry’ for the delegates, describing it as a welcome difference in comparison to film festivals.

Global Voices in Doha

Delivering its mandate of supporting the next generation in filmmaking talent, Qumra nurtured 33 projects including 13 narrative feature films, 10 feature documentaries and 10 short films. The projects represented 19 countries of production with a total of 15 projects from Qatar-based filmmakers, 12 from the Middle East North Africa (MENA) region and 6 from the rest of the world. Of the 33 projects, 11 are features films in development, 12 are in post-production and 10 are short films in development.

Twenty of the feature projects are alumni of the Institute’s grants programme and 3 are by independent filmmakers from Qatar. Of the 10 short projects, 7 are by Qatari filmmakers and 3 are by Qatar-based filmmakers identified through the Institute’s ongoing engagement with local industry. Celebrating Qatari talent, Qumra opened with a screening of Jassim Al Rumaihi’sThe Palm Tree (Qatar, No Dialogue, 2015) in the New Voices in Cinema segment, winner of the Made in Qatar Award for Best Documentary at the 2015 Ajyal Youth Film Festival. 

Northwestern University in Qatar (NU-Q) released preliminary information from its annual research survey on usage and attitudes toward media in six Arab countries. One of the key findings in the survey was that people in the Middle East are more concerned about online monitoring by private companies than they are about online monitoring by governments.

The survey, “Media Use in the Middle East” documents trends in Egypt, Lebanon, Qatar, Saudi Arabia, Tunisia and the UAE, and was done in partnership with the Doha Film Institute. The university has released the survey annually since 2013. Everette E. Dennis, dean and CEO of NU-Q, discussed the findings on attitudes related to online privacy concerns in the region. Speaking at a panel discussion at the International Press Institute’s (IPI) World Congress, Dennis previewed early findings from the study which relate to the use of social media. The full report will be released next month.

“The media use study,” Dennis said, “is a systematic means of understanding the region, beyond news headlines and subjective commentary. The knowledge of how people use media—and what they think about them—offers insights about the social and political climate, as well as vital societal issues like freedom of expression. This survey, coupled with the media industry report released last month, continues Northwestern University in Qatar’s research expertise in the fields of media and communication.”

Among the findings released by NU-Q, was despite the fact that - with the exception of Tunisia - the majority of nationals in all countries feel the internet should be more tightly regulated in their country, internet users in most countries are more concerned about online surveillance by companies than by governments. The study which gets funding from the Qatar National Research Fund and the Doha Film Institute, revealed that majorities of social media users in the Middle East, with the exception of Qatar, are increasingly concerned about social media.

The Dean moderated the panel at the IPI World Congress on Media Use and Regulation in the MENA Region. Joining Dennis on the panel were Dr. Hessa Al Jabar, former Minister of Information and Communications Technology; LinaEjeilat, co-founder and executive editor, 7iber.com, Jordan; Jeffrey Cole, director of the Center for the Digital Future and head of the World Internet Project at the Annenberg School for Communication, University of Southern California; and NabeelRajab, president and co-founder, Bahrain Centre for Human Rights, who was Skyped into the conference.

The media use survey is the largest annual study of its kind in the region and was conducted in collaboration with Harris Poll. Fieldwork took place from December 20, 2015 to February 27, 2016 and involved 6,058 interviews, including 4,529 nationals, which constitutes a nationally representative sample of adults aged 18 or over in each country. 

Following the success of the ‘Science Fiction in Film’ thematic programme, the Doha Film Institute is presenting a new themed series for cinema lovers in Qatar that celebrates the impact of costumes and fashion in films to create meaningful cinema. Themed, ‘Fashion in Film-Costume as Character’, the special series part of DFI Cinema, is scheduled from April 20th to 24th at the MIA auditorium, and includes a diverse line-up of films with Q&A sessions, an open air community engagement event and a master class that explores the relationship between fashion and film and its prominence in world cinema from the early days of moving images.

The screening programme will showcase a selection of regional and international films that have used costumes effectively to portray a certain period and time, and covers different genres including horror, romance, drama, thriller and animation. The line-up includes Martin Scorceses’ ‘The Age of Innocence’, Jean-Pierre Melville’s ‘Le Samourai’ , ‘Funny Face’ by Stanley Donen, Alfred Hitchcock’s ‘The Birds’ , Akira Kurosawa’s ‘Rashomon’, Qatar premiere of DFI grantee project, ‘3000 Nights’ by Mai Masri and an outdoor special screening of Walt Disney Studios classic ‘Cinderella’. Each screening will be followed by an onstage Q&A moderated by Stella Bruzzi.

Since the early days of cinema, costumes and fashion have played an intrinsic role to visually tell a story or evoke a personality, rendering certain cinematic moments unforgettable. To discuss the history of fashion and films and the symbiotic relationships both mediums share, leading industry expert Stella Bruzzi will share her rich insights with audiences in Qatar at a masterclass on the growing prominence of costumes and fashion, its evolution over the years and its relevance in today’s world on April 22nd at the MIA.

The masterclass themed ‘Costume in Cinema’, explores costume as a classic tool for drawing character and narrative, and mapping the intricacies of class, context or identity, and highlights the distinctive and important role played by costume in the movies using copious illustrative clips from a wide range of films. Picking examples from Hollywood genres such as melodrama, romantic comedy and science fiction, alongside European art cinema, Stella Bruzzi will analyse some of the distinctive ways in which costume and fashion have been used to construct meaning in cinema.

Regarded as one of the greatest thrillers by the American Film Institute, Alfred Hitchcock’s The Birds (USA/1963) is loosely based on the 1952 story of the same name by Daphne du Maurier, and focuses on a series of sudden and unexplained violent bird attacks on the people of Bodega Bay, California over the course of a few days. Hitchcock is known for his masterful precision in every choice made to create meaning in his films, and it is no surprise this rigour extends to costume design in this film which reflects the protagonist’s character and the film’s complex and elusive psychology. The film screens on 22nd April at 8:30 PM and on the 24th of April at 5:30 PM and 8:30 PM.

Martin Scorsese’s adaptation of American novelist Edith Wharton’s The Age of Innocence (USA/1993) examines the tragic love triangle of Newland and May, a recently engaged young couple from two of New York’s finest families, and the disgraced Countess Olenska. The costumes in the film are simply wonderful and is no surprise the film won the Academy Award for Best Costume Design. The film screens on 20th April at 8:30 PM.

Jean-Pierre Melville’s use of costume in Le Samourai (France, Italy/1967) is significant both in terms of the story and the film’s overall structure. The film is a fascinating construction – it is as though elements of a 1940s American crime drama have been transplanted into high-modern 1960s Paris. An exceedingly clever mélange of elements of classic film noir and hints of the French New Wave, the result is a quite unique film that washes over the viewer like something out of a dream. The film screens at 5:30 PM on the 20th of April.

Known as the King of the Hollywood Musicals, Stanley Donen’s Funny Face (USA/1957) is a light-hearted musical take on the clash between capitalist consumerism and the counterculture of the late 1950s. The film is also adored for showcasing Hollywood icon Audrey Hepburn’s jovial on-screen presence, classic beauty and wonderful sense of comic timing, and is awash in both costume and fashion. The film screens at 5:30 PM on April 21st. 

A story of motherhood in the most dire of circumstances, Mai Masri’s 3000 Nights (Palestine, France, Jordan, Lebanon, UAE, Qatar/2015) is based on a true story and makes a prison into a metaphor for Palestine under occupation, exploring how the institution shapes the complicated interplay of resilience, empathy, and psychological manipulation, quietly underlined in the film with costume. The film screens at 8:30 PM on 21st of April. The films costume designer, HamadaAttalah, will be present at the screening to share the creative brief and his approach to the design process. He has also designed the costumes for some of the most talked about Arab films recently including HanyAbu-Assad’s Omar, When I Saw You by AnnemarieJacir and the region’s first psycho-thriller Zinzana by MajidAl-Ansari.  

Akira Kurosawa’s Rashomon (Japan/1950) is considered to be one of the greatest films ever made and is based on a short story ‘In a Grove’ by Ryūnosuke Akutagawa. The film is known for a plot device that involves various characters providing alternative, self-serving and contradictory versions of the same incident, revealing more about the nature of the characters than the actual event in this complex consideration of truth and justice. The costumes in this film differentiate the social role of each character. The film screens at 5:30 PM on April 22nd.

Walt Disney Studios’ ‘Cinderella’(USA/1950) by Wilfred Jackson, Hamilton Luske and Clyde Geronimi, is considered one of the best American animated films of all time – given its enduring musical charm, brilliant use of Technicolor technology and, of course, its tale of the hard-done-by young woman with a heart of gold who wins over the gallant prince. Costumes play a significant role throughout the film – from Cinderella’s humble everyday existence to the glowing ball gown.

DFI is inviting families to bring their children dressed as princesses and prince charming, as a tribute to the globally loved characters at this special family screening event at 7:30 PM on 23rd April. Stella Bruzzi is Professor of Film and Television Studies at Warwick University and a Fellow of the British Academy. One of the foremost international scholars on costume and fashion in film, in 1997 she published ‘Undressing Cinema: Clothing and Identity in the Movies’, still among the most cited academic books in the field, later co-editing ‘Fashion Cultures’ and ‘Fashion Cultures Revisited’ (2000 and 2013).

DFI’s Thematic Series, part of DFI Cinema, is aimed at strengthening appreciation for the arts and contributing to the evolution of Qatar’s rich cultural fabric. The programme offers audiences in Doha an opportunity to view films that may not necessarily reach commercial cinemas, and exposes them to new tastes and to filmmaking communities that deserve recognition for their immense talent and diversity. The next DFI Thematic Series, ‘Masters of Illusions’ is scheduled from June 1 to 4th, 2016.

For ticket prices and more details, please visit: www.dohafilminstitute.com

Doha Film Institute is presenting a new themed series for cinema lovers in Qatar that celebrates the impact of costumes and fashion in films to create meaningful cinema. A range of diverse activities have been lined-up over the weekend, as part of the special series, that will provide audiences in Qatar with creative avenues to explore the rich traditions of film costumes and  view globally lauded films that have set benchmarks in filmmaking.

Themed, ‘Fashion in Film-Costume as Character’, the special series part of DFI Cinema, runs from April 20th to 24th at the MIA auditorium, and includes a diverse line-up of films with Q&A sessions, an open air community engagement event and a master class that explores the relationship between fashion and film and its prominence in world cinema from the early days of moving images. The screening programme includes a vibrant line-up of globally acclaimed films that have used costumes effectively to provide strong visual support to the story and help actors portray their roles with greater confidence and conviction to enhance characterization.

The programme gets underway with the screening of Martin Scorceses’ ‘The Age of Innocence’, and Jean-Pierre Melville’s ‘Le Samourai’ on the 20th of April. Weekend celebrations begin with the screening of ‘Funny Face’ by Stanley Donen and the Qatar premiere of DFI grantee project, ‘3000 Nights’ by celebrated Palestinian director Mai Masri on Thursday, 21st April. The films costume designer, HamadaAttalah, revered for his work on Omar, When I Saw You and Zinzana will share insights into his creative process at the Q&A post screening.

Other films lined-up for the weekend include classics from global masters ; Alfred Hitchcock’s ‘The Birds’ and Akira Kurosawa’s ‘Rashomon’ on April 22nd. An outdoor special screening of Walt Disney Studios classic ‘Cinderella’ on April 23rd provides a perfect opportunity for the entire family to come together and enjoy the movie in a fun environment, where kids can dress up as princesses and prince charming, in a tribute to the globally loved characters. Each screening will be followed by an onstage Q&A moderated by Stella Bruzzi.

A special masterclass on April 22nd led by industry expert Stella Bruzzi will explore the history of fashion and films, its evolution and growing prominence and its relevance in today’s filmmaking world. Themed ‘Costume in Cinema’, the masterclass explores costume as a classic tool for drawing character and narrative, and mapping the intricacies of class, context or identity, and highlights the distinctive and important role played by costume in the movies using copious illustrative clips from a wide range of films.

DFI’s Thematic Series, part of DFI Cinema, is aimed at strengthening appreciation for the arts and contributing to the evolution of Qatar’s rich cultural fabric. The programme offers audiences in Doha an opportunity to view films that may not necessarily reach commercial cinemas, and exposes them to new tastes and to filmmaking communities that deserve recognition for their immense talent and diversity.

For ticket prices and more details, please visit: www.dohafilminstitute.com

The Doha Film Institute will bring the delightful animated film Zarafa as part of its Cinema under the Stars open-air screening on Saturday, May 7, 7.30 PM at the Museum of Islamic Art. The programme comes to an end with this screening for the summer, and is a great opportunity for the community to enjoy a family friendly film in a different setting from the traditional cinema, while enjoying the outdoors at night.

The French-Belgian film is directed by RémiBezançon and Jean-Christophe Lie, and features voice overs by Max Renaudin Pratt, Vernon Dobtcheff, Thierry Frémont and Simon Abkarian, among others. Set in the early 19^th century, the film narrates the story of Maki, a 10-year-old orphaned Sudanese boy who is sold into slavery. He escapes the slave trader and comes across a young giraffe. A Bedouin nomad comes to the rescue of Maki, who also names the giraffe as Zarafa. The film follows a long journey through the desert, ancient cities, the high seas and finally to Paris, charting the adventures of the boy and the giraffe.

The ‘Cinema under the Stars’ programme, part of DFI Cinema series, is designed to strengthen film appreciation in Doha by introducing insightful and path-breaking movies, in a family friendly open air environment that enhances the shared entertainment experience, for an evening of great cinema.

Screenings are free and seating is on a first-come, first-served basis. For more details, log on to: www.dohafilminstitute.com

Amid concerns about online privacy, social media use in the Middle East is shifting away from Twitter and Facebook and toward direct-messaging platforms such as Snapchat and WhatsApp. According to a study released today by Northwestern University in Qatar, in partnership with Doha Film Institute, video-centric Snapchat is now among the most popular platforms in the high-bandwidth Gulf countries.

The study also sheds new light on the shift from TV to online video. Daily TV viewing dropped in Egypt (by 7 percentage points), Saudi Arabia (16 percentage points) and Qatar (21 percentage points), but television remains the platform of choice in the Middle East for watching films—90 percent say they watch films on TV. While most in the region now watch film and video online, fewer than 5 percent have paid money to do so in the past year.

The comprehensive annual survey examines the use of and attitudes toward media among 6,058 adults (4,529 nationals) in Egypt, Lebanon, Qatar, Saudi Arabia, Tunisia and the United Arab Emirates. It includes several categories of inquiry: cultural attitudes, censorship, regulation and online surveillance, online and social media, film, TV, music, games, sports, news, and children’s media, and is supported by a Qatar National Research Foundation NPRP grant.

Everette E. Dennis, dean and CEO of NU-Q, said, “This survey provides significant insight into the ways in which media and entertainment is consumed across the Middle East, revealing cultural and political attitudes of the Arab world. As the concept of media continues to change in this ever-connected digital world, our survey provides insight into how people are connecting and interacting today.”

Fatma Al Remaihi, CEO of Doha Film Institute, said, “The Pan-Arab media industry is growing faster than the economy, at about 19 percent per year with both online and offline channels experiencing rapid expansion. This collaborative study provides a unique and valuable insight into the mindset of this region’s most important demographic: its young people. The findings also highlight the tremendous potential for growth of new media channels, as Middle Eastern governments move their economies away from dependence on natural resources to developing knowledge-based economies, and media in particular is a priority sector.”

The region is divided on whose responsibility it is to block objectionable content. More nationals in Egypt, Qatar, and Saudi Arabia believe it is the responsibility of governments to block objectionable content, while majorities in the UAE, Lebanon, and Tunisia believe it is the responsibility of the individual to avoid such content. The most evenly divided country is Saudi Arabia, where 50 percent believe responsibility lies with the government and 43 percent believe it lies with the individual. The biggest disparity is in Egypt, where only 30 percent believe it is the responsibility of the individual, compared to 66 percent who believe it is the responsibility of the government to block objectionable content.

Egypt stands out in many other findings. Thirty-nine percent of Egyptians say they consider themselves more conservative than most people in their country, a drop from 67 percent in the winter of 2015. The sentiment in Egypt that more should be done to preserve cultural traditions rose 15 percentage points from 2014 to 2016, from 73 percent to 88 percent Only 4 percent of Egyptian internet users say they have paid for online content of any kind in the past year, while the next lowest are Tunisians and Qataris, both at 16 percent.

Meanwhile, more people are getting their news online than in print. Daily newspaper readership is greatest in the UAE (25 percent and Qatar (32 percent). Qatar also leads for reading news online daily (42 percent), along with Saudi Arabia (39 percent). In Egypt the popularity of news as a top-three favorite TV genre decreased by 10 percentage points since 2014, while the popularity of drama and religious/spiritual TV programming increased by 12 percentage points and 7 percentage points, respectively.

Use of Instagram across the region increased by 24 percentage points between 2013 and 2016, and Facebook’s popularity has declined in the last three years by 6 percentage points. Twitter, however, shows the biggest decline over the past three years—17 percentage points—with a 12 percentage point drop from just one year ago. Three-quarters of Egyptian internet users say that concerns about privacy have changed the way they use social media, second only to the 89 percent of Saudis who say the same.

While internet penetration levels are up across the region, internet and smartphone penetration are significantly higher in the GCC than the other countries included in the survey. The UAE has the highest rates of internet penetration with 100 percent of nationals saying they are connected to the internet in 2016. Closely following are Qatar and Saudi Arabia, both at 93 percent internet penetration. Lebanon is at 84 percent internet penetration. The lowest levels of internet penetration are recorded in Egypt and Tunisia at 59 percent and 49 percent, respectively. However, internet penetration in these countries is up since last year, by 14 percentage points in Egypt and 5 points in Tunisia.

Smartphone penetration is highest in the UAE (99 percent), Qatar (95 percent), Saudi Arabia (95 percent), and Lebanon (90 percent), and lowest in Egypt (61 percent) and Tunisia (43 percent). TV is the most used platform for listening to music (65 percent of all nationals), compared to internet and radio (41 percent and 35 percent). Middle Eastern music is proving significantly more popular than American music across the region.

Similar to the trends in film viewing, younger people are more likely to listen to non-Arabic music (one-quarter of those between 18 and 24 years old listen to American music, compared to only 4 percent of those over age 45) but are also more likely to listen to music from their own country than older people. Younger adults (18-24) are also nearly twice as likely to listen to music online than on the radio (56 percent compared to 31 percent), but only 6 percent say they have paid to do so in the past year. The Harris Poll supported data analysis and managed the fieldwork, which was conducted face-to-face and by telephone from December 20, 2015 to February 27, 2016.

Northwestern University in Qatar conducts an annual region-wide survey of media use patterns, content preferences, and attitudes toward issues such as censorship, freedom of speech, and cultural preservation. While the annual survey includes both nationals and expatriates across the region, data in this release report findings for citizens in the six countries. This spring NU-Q and DFI also published a wide-ranging study of media industries in the MENA region including film, television, music, digital media, newspapers, advertising, and more. For more information on these studies visit http://www.mideastmedia.org

Qatar Together Youth initiative in collaboration with the Qatar Professional Women’s Network (QPWN) recently launched the ‘We Can Do It’ Campaign’ - Qatar edition, at the Museum of Islamic Art. .    

The launch event in Qatar included a screening of the inspirational documentary ‘We Can Do It’, which features 130 women from the region over a three month period and highlights their conviction to bring about positive change in their communities, their views on gender equity and the role Arab women play for national progress and development. The documentary can be viewed on youtube: http://www.weoritu.org/new-page-2.

The special screening was followed by a panel discussion with leading women professionals from diverse business sectors in Qatar the panel was lead by Maryam Alsubaiey, one of the founding members of Qatar Together and also a participant in We Can Do It campaign  and included CEO of Doha Film Institute Fatma Al Remaihi, Psychologist Ameera Alishaq, TV Presenter Hanan Alemadi  and Khadeeja Buheleka, Fashion Designer and Social Entrepreneur, who shared insights about their careers, their passion and commitment to contribute to Qatar’s progress and their hopes from the youth and the next generation.

The panel was moderated by Maryam Al Subaiey, one of the founding members of Qatar Together and a participant in the We Can Do It Campaign. The ‘We Can Do It’ campaign was globally released on November 14th, 2015. The launch event took place in Kuwait City at Shaheed Park. It marked the commencement of the campaign video of more than 130 women achievers from the GCC region voicing their insights for future generations on YouTube.

The purpose of the campaign is to raise awareness about accomplished women in the region and to bring the community closer to one another. It aims to spark a global movement of women voicing their thoughts and sharing their dreams to help inspire future generations, and to create encouraging vibes around the globe using the hashtag #WeCanDoIt!. We are igniting the movement through our paintbrush which symbolizes a torch for women around the world to work together in creating a better future!

The Qatar edition of the event was organized by Qatar Together initiative. Qatar Together aims to promote values of a developed civil society and encourages young Qataris to contribute to achieving the 2030 vision. They host various talks and workshops where they link young people with officials in various fields to engage in discussions about social and developmental issues. Qatar Together collaborated with QPWN for the first time to attract non-Arabic speakers to the event in order to engage in a discussion with expatriates about women in the Arabian Gulf.

QPWN - Qatar Professional Womens Network - was established in 2010 and aims to promote Qatari and expat women working together to enhance cross cultural understanding; career and personal development and opportunities for growth and outreach. Monthly networking meetings with guest speakers, a “Newbie” programme, a mentoring programme and numerous partner events are part of the rich and diverse annual programme.

The Salesman written and directed by celebrated filmmaker Asghar Farhadi, and co-financed by the Doha Film Institute, will mark its world premiere in the official competition of the 2016 Cannes Film Festival. Six other films supported by the Doha Film Institute Grants programme have been officially selected to screen in key sections at the prestigious global film event running from May 11 to 22. The Salesman is produced by Memento Films Production and AsgharFarhadi Production, in coproduction with Arte France Cinéma and in association with Doha Film Institute, Memento Films Distribution and Arte France.

Forced out of their apartment due to dangerous works on a neighboring building, Emad and Rana move into a new flat in the center of Tehran. An incident linked to the previous tenant will dramatically change the young couple’s life. The Salesman stars ShahabHosseini (A Separation) and TaranehAlidoosti (About Elly). Farhadi won the 2012 Academy Award for Best Foreign Language Film for A Separation and the Best Actress Award at Cannes 2013 for his last film The Past.

Fatma Al Remaihi, Chief Executive Officer of the Doha Film Institute, said: “We are delighted that seven films supported by the Institute have been officially selected at Cannes this year. The selection of The Salesman in the Festival’s official competition section is an achievement we are all very excited about, as it adds to our pride in partnering with international productions that set new benchmarks in excellence in filmmaking.

AsgharFarhadi is one of the most recognized filmmakers working today, someone we have long admired for his talent and commitment to making films that tackle strong subject matters with enduring humanity. “I would like to thank the entire team behind the film for sharing their vision with us and making us a part of their incredible journey, and wish them the very best. This has been a passion project for all involved and we look forward to audiences discovering this latest masterpiece”.

Among the six DFI grantee films, two have been selected to the Un Certain Regard section - Apprentice (Singapore, Germany, France, Hong Kong, Qatar) written and directed by Boo Junfeng; and Dogs (Romania, France, Bulgaria, Qatar) by BogdanFlorianMirica. Showcased in the Directors’ Fortnight is Divines (Morocco, France, Qatar), directed by HoudaBenyamina. The remaining three DFI grantee films will compete for top honours in the Critics Week including: Mimosas (Spain, Morocco, France, Qatar) by Oliver Laxe; Tramontane (Lebanon, France, UAE, Qatar) by VatcheBoulghourjian; and Diamond Island (Cambodia, France, Germany, Qatar) by Davy Chou.

“At the very core of DFI’s film funding mandate is to contribute to World Cinema and ensure that great stories continue to be told. We are committed to celebrating high-calibre talents, both emerging and established, to contribute to a growing roster of quality world cinema. Through our DFI Grantee programme, we are underling our commitment to support emerging talent and create a body of work that reflects the cinematic ambitions of the next generation. These projects will also inspire the young Qatari film professionals to create compelling content that will gain international acclaim,” added Al Remaihi.

As part of Qatar’s presence in Cannes, the Doha Film Institute is also presenting a special Made in Qatar showcase of short films at the Cannes’ Short Film Corner, a section of the festival dedicated to showcasing films from more than 90 countries to thousands of accredited industry guests, festival selectors and short film industry specialists. 

The line-up includes winners of the Best Documentary Film and Best Narrative Film at Ajyal 2015, The Palm Tree by Jassim al Remaihi and Asfoora by MayarHamdan respectively, Good as New by JasserAlagha, Yellow Nights by Abdullah Al Mulla, The Notebook by AmnaAl-Binali, Light Sounds by KaremKamel, Veganize it by Khalid Salim, To My Mother by Amina Ahmed Al Bloshi and Inside Out by FahadAl-Obaidly.

Since premiering at Ajyal in 2015 the MIQ package screened at Clermont Ferrand and Berlinale, and is also scheduled to screen in Sarajevo and several other festivals on the international circuit later this year. 

The Doha Film Institute today announced the recipients of the Spring 2016 session of its Grants programme. Two of these new grantees, along with four recipients of funding from previous sessions, will have their world premieres at this year’s Festival de Cannes. Twenty six projects from 14 countries – comprising 13 feature-length narrative films, 6 feature documentaries, 3 feature experimental or essay films and 4 short films – will receive funding for development, production or post-production. The Spring session marks the 12th session of the grants programme, which is dedicated to supporting new cinematic talent, with a focus on first- and second-time filmmakers.

Two of the Spring 2016 grantees are also screening in key sections at this year’s Cannes Film Festival – Dogs in Un Certain Regard, directed by Bogdan Mirica (Romania/France/Bulgaria, Qatar) about a man who wants to sell the land he has just inherited from his grandfather near the Romanian border with Ukraine, and Diamond Island in Critics Week, directed by Davy Chou (Cambodia/France/Germany/Qatar) about an adolescent who leaves his home village for the worksites of Diamond Island, a contemporary playground for the rich outside Phnom Penh where he finds his mysterious older brother Solei, whom he has not seen in years.

Four other previous grantees selected for screening in official sections at Cannes this year – Divines (Directors Fortnight), Apprentice (Un Certain Regard), Mimosas (Critics Week) and Tramontane (Critics Week). Stories of embezzlement, coming of age, time travel, liberation, physical or spiritual journeys, tales of family life and of life in exile are highlighted in the selections this Spring. Twenty of the projects are from the Middle East and North Africa (MENA) region, while six are from the rest of the world. Three projects from Qatari directors are among the 26 projects selected for funding, four projects from Lebanon, three from Palestine and two returning grantees.

Qatari-based directors Mohammed Al Ibrahim’s Bull Shark, Sara Al-Obaidly’s Coming of Age feature narrative project and Abdulla Al-Mulla’s short Green Eyes all received grants this session. Co-directors Jasmina Metwaly and Philip Rizk are return grantees with their new project On Trials, after being previously granted in 2013 for their project Out on the Streets, and Kasem Khasra is also a second time grantee for I Dreamt of Empire after his previous grant for the project Shelter in 2013.

Lebanese projects which have received backing include The President's Visit, Cyril Aris (Lebanon/Qatar), To the One Who Didn’t Give Me Life, Wassim Geagea (Lebanon/Qatar), Summer of 2015, Angie Obeid (Lebanon/Qatar) and The Insomnia of a Serial Dreamer, Mohamad Soueid (Lebanon/Qatar). The three Palestinian projects who are grantee recipients this round are: A House in Jerusalem Muayad Alayan (Palestine/Qatar), Screwdriver - Bassam Jarbawi (Palestine/Qatar) and The Forgotten - Ghada Terawi (Palestine/Qatar).

Highlights from this session’s grants include the strong presence of projects from established filmmakers in the MENA region with four projects as grantees this session – Headbang Lullaby from Hicham Lasri (Morocco, France, Qatar), The Journey from Mohamed Al Daradji (Iraq, Qatar), Whispering Sands from Nacer Khemir (Tunisia, France, Qatar) and The Insomnia of a Serial Dreamer from Mohamed Soueid (Lebanon, Qatar).

Fatma Al Remaihi, CEO of the Doha Film Institute, said: “Our Spring grantees cover a broad range of subjects and represent some powerful new voices in cinema, but we are especially proud of the high quality of Qatari projects represented including four strong projects from established MENA filmmakers. Two of our grantees from this round are selected for screening in official selection in Cannes alongside four older grantee projects which I think is testament to the strength of our grants programme, the exciting new filmmakers emerging from our region and beyond, and the high quality of the films we are pleased to be able to support.”

“Our grantees represent the core of the Doha Film Institute’s mandate to support emerging filmmakers and contribute to the development of the regional film industry and we continue to seek out projects with a strong directorial vision that are challenging, creative and thought-provoking.” Submissions for the next funding round open July 14 and close July 27, 2016. Funding is available to projects by filmmakers from around the world, with an emphasis on support for filmmakers from the MENA region. Certain categories of funding are reserved for MENA and Qatari filmmakers.

The fund is primarily for first and second-time filmmakers. Post-production funding is available to established filmmakers from the MENA region.

For more information about eligibility and submissions, please visit: http://www.dohafilminstitute.com/financing/grants/guidelines

A full directory of past grant recipients is available to view at: http://www.dohafilminstitute.com/financing/projects/grants

The Doha Film Institute Grants Programme funding recipients for the Spring 2016 are:

Feature Narrative/Development

Amerli - Yahya Al Allaq (Iraq/Qatar); Logline: After the destruction of their hometown in northern Iraq, and the murder of their parents, Zainab and her brother Yousef are on the run, intent on reaching the town of Amerli.

Bull Shark - Mohammed Al Ibrahim (Qatar); Logline: An up-and-coming investment banker makes his mark in the Arab region’s most prominent Islamic investment bank, only to find out that he has been caught in the middle of the costliest embezzlement scheme in Arab history.

Coming of Age - Sara Al-Obaidly (Qatar/United Kingdom/Italy/Turkey/Nepal); Logline: Two mod girls from South East London embark on a dream holiday but end up on the journey of a lifetime, crossing continents and cultures, and growing up over three wild years on the road.

A House in Jerusalem - Muayad Alayan (Palestine/Qatar): Logline; A Jewish American family finds it hard to adapt to their new home in Jerusalem after they discover the grave of a young Palestinian girl.

Feature Narrative/Production

I Dreamt of Empire - Kasem Kharsa (Egypt/Germany/France/Qatar); Logline: An Egyptian professor travels back and forth through time in an attempt to save his only son and reclaim the past

Screwdriver - Bassam Jarbawi (Palestine/Qatar); Logline: Driven to psychosis by the torture he underwent in an Israeli prison, an ex-basketball champ struggles to reassimilate into society. As reality blurs with his hallucinations, he cannot help but drive himself back into incarceration

You Will Die at Twenty - Amjad Abu Alala (Sudan/Qatar); Logline: When Mozamel is born in a Sudanese village where the ideas of Sufism hold sway, a prophecy says he will die in his twenties. He lives in fear until Sulaiman, an elderly cinematographer, appears in his life

Feature Documentary/Production

The Forgotten - Ghada Terawi (Palestine/Qatar); Logline: A look at the life of Kozo Okamoto, a Japanese freedom fighter who gave up his life in Japan after joining the movement to liberate Palestine

Feature Experimental or Essay/Production

On Trials - Jasmina Metwaly, Philip Rizk (Egypt/Qatar); Logline: In an attempt to question the legal realm, ‘On Trials’ explores the performative aspect of the law in Egypt through performances by judges, lawyers, defendants, journalists and law students

Short Narrative/Production

Born in the Maelstrom - Meryam Joobeur (Tunisia/Canada/Qatar); Logline: Rebecca, an 18-year-old biracial girl, is bound in an imaginary world shaped by her black mother’s painful past. She searches for liberation from this place where she does not belong

Green Eyes - Abdulla Al-Mulla (Qatar); Logline: The tireless struggle of a coma patient in the oceanic depths of his own reality, as he faces off against his own ego and the mysterious monster that lives within

The President's Visit - Cyril Aris (Lebanon/Qatar); Logline: When the men in a fishing village learn of the secret upcoming visit of their country’s president, they embark on a never-ending struggle to maintain the perfect image of their town

To the One Who Didn’t Give Me Life - Wassim Geagea (Lebanon/Qatar); Logline: When his mother unexpectedly dies, a nine-year-old boy kidnaps a statue of the Virgin Mary in order to blackmail Jesus into returning her

Feature Narrative/Post Production

Headbang Lullaby - Hicham Lasri (Morocco/France/Qatar); Logline: A policeman is sent by his dissatisfied superiors to spend a day on a bridge between two warring neighborhoods, where he is charged with ensuring the security of a hypothetical royal procession

The Journey - Mohamed Al Daradji (Iraq/Qatar); Logline: Sara is on the cusp of committing an unthinkable act, but time stands still and she is given the opportunity to witness the consequences of her destructive action

Whispering Sands - Nacer Khemir (Tunisia/France/Qatar); Logline: An encounter in the desert between a woman haunted by her family’s tragic past, and her guide, who discovers his own family’s dark future

Dark Skull - Kiro Russo (Bolivia/Qatar); Logline: "A conflictive young man lived rejecting his father, after he passed away the young man must return to his village to replace him in the tin mines. Who was his father?"

Diamond Island - Davy Chou (Cambodia/France/Germany/Qatar); Logline: Bora leaves his home village for the worksites of Diamond Island, a contemporary playground for the rich outside Phnom Penh. There, he finds his mysterious older brother Solei, whom he has not seen in years

Dogs - Bogdan Mirica (Romania/France/Bulgaria/Qatar); Logline: Roman seeks to sell the land near the Romanian border with Ukraine that he has just inherited from his grandfather, but the local men will not let go of it without a fight.

Feature Documentary/Post Production

A Comedian in a Syrian Tragedy - Rami Farah (Syria/Denmark/Qatar); Logline: An intimate portrait of Syrian actor Fares Helou, who calls for freedom of speech, is forced to flee his home country, and experiences the absurdities of existence in exile

Summer of 2015 - Angie Obeid (Lebanon/Qatar); Logline: Twenty-seven-year-old Angie, a Lebanese filmmaker, hosts a 53-year-old Syrian woman in her small apartment in Beirut. There, they wait endlessly for an opportunity to reach a better place.

City of the Sun - Rati Oneli (Georgia/Qatar); Logline: A surreal vision of the lives of the few inhabitants of Chiatura, Georgia – a post-Soviet ghost town

Listen to the Silence - Mariam Chachia (Georgia/Qatar); Logline: Nine years old and completely deaf, Luka dreams of dancing on stage. He follows his dream and learns Georgian folk-dancing, after which his life changes completely

Untitled Congo Project– Daniel McCabe (USA/Congo/Qatar); Logline: An unfiltered look into the lives of three people who are surviving amid the most recent cycle of conflict in the Democratic Republic of Congo – the M23 rebellion

Feature Experimental or Essay/Post Production

Experimental Summer - Mahmoud Lotfy (Egypt/Qatar); Logline: Mahmoud and Zainab are making a documentary about ‘Experimental Summer’, an independent Egyptian film produced in the mid-1980s whose makers are unknown

The Insomnia of a Serial Dreamer - Mohamad Soueid (Lebanon/Qatar); Logline: A personal essay of dreams, images and clouds, built from visual materials filmed over the last 15 years in different formats and locations

The Doha Film Institute is hosting emerging Qatari filmmakers at the 69th edition of the Cannes Film Festival, where they are participating in a series of targeted workshops, networking events and industry meetings, to support them in advancing their filmmaking careers.

The young Qatari directors Amna Al-Binali and Jassim Al Rumaihi, have had an opportunity to connect with their peers from the global entertainment industry and learn from some of the world’s most prominent film experts at this international gathering. During the week-long educational programme, the talented duo took part in workshops, script development advisory sessions and one-on-one meetings, in addition to attending the screenings of the most-awaited films from across the world.

Fatma Al Rumaihi, Chief Executive Officer of the Doha Film Institute, said: “Apart from the significant showcase of films supported by the Doha Film Institute that will screen at Cannes, we are delighted to host our own Qatari talent and our ‘Made in Qatar’ films at the world’s premier film event. Through this, we aim to strengthen the skills of our young filmmakers, and highlight their creative works to the world. The networking sessions and the screenings at Cannes will help the participants to gain deep insights into the newest trends in filmmaking, which they can apply in their creative pursuits and add to the pride of Arab cinema.”

Amna Al-Binali’s The Notebook had won the Special Mention in the documentary category at Ajyal Youth Film Festival 2015. It is a diarist film that explores the limits of personal boundaries and the complicated dynamics of inner lives through the life of Nora who is trying to make a film for the first time. Al-Binali graduated from Qatar University with a degree in English Literature and Linguistics, and directed her first short film, Doctor’s Office at the La Fémis Gulf Summer School in 2015. She is currently developing The World Is Blue, which was selected for Qumra this year.

In discussing the development sessions attended by the group Amna Al-Binali said: “It truly is an honour to participate at the Cannes Film Festival and to showcase my film in the reputed Shorts Film Corner. As one of the most-respected film events, Cannes offers amazing insights into the world of movies. The opportunity to meet with the world’s best in filmmaking and to listen to them will help in further building my skills in filmmaking. This is a great initiative by the Doha Film Institute and I feel I have gained a lot throughout the meetings that have been organised for us.”

Jassim Al-Rumaihi’s The Palm Tree won the Best Documentary Film at Ajyal Youth Film Festival 2015 and was also the opening film for the Emerging Voices segment of Qumra 2016. It is an observational documentary that shows how unnatural nature can be and unearths the science fiction in reality. Al-Rumaihi works as a reporter at Al Jazeera News channel, covering news from Tunisia to Nepal. While studying at Northwestern University in Qatar, he took several classes in film production. He is currently working on Amer: The Arabian Legend, a documentary about one of Qatar’s most famous racehorses, which was selected for Qumra this year.

“I am looking to build relationships with broadcasters, distributors, documentary experts, festivals and labs, and also seek mentorship opportunities through my participation at Cannes. Its very important to share stories from Qatar with the world, and as filmmakers it’s our responsibility to present our voices to them and help them discover our culture and heritage. Doha Film Institute has extended tremendous support to me in shaping my film career, and the visit to Cannes will enrich my understanding of world cinema that will add value to my own works,” he said.

As part of Qatar’s presence at Cannes 2016, the Doha Film Institute presented a special Made in Qatar showcase of short films from Qatar at the Shorts Film Corner. The film line-up included  The Palm Tree by Jasim Al Rumaihi; Asfoora by Mayar Hamdan; Good as New by Jaser Alagha; Yellow Nights by Abdullah Al Mulla; The Notebook by Amna Al-Binali; Light Sounds by Karem Kamal; Veganize It by Khalid Salim; To My Mother by Amina Ahmed Al Bloshi; and Inside Out by Fahad Al Obaidly.

Four films supported by the Doha Film Institute have won top honours in key sections of the 69^th Cannes Film Festival, including the Best Screenplay and Best Actor awards for The Salesman, co-financed by the Institute, in the Festival’s official competition.

DFI grantee film Divines, the debut feature by Houda Benyamina scooped the coveted Camera d’Or prize at the award ceremony held yesterday, along with a special mention from SACD for debut film in the Directors Fortnight section. Selected to screen in key sections of the Festival, the winning films competed with the latest works from auteurs of cinema and emerging talents from across the globe at the prestigious film event that ran from May 11-22. 

In addition, DFI grantee films, Mimosas and Diamond Island won key prizes at the Critics Week and Directors Fortnight sections of the 2016 Festival. Mimosas, the sophomore feature from Spain’s Oliver Laxe, scored the Nespresso Grand Prize awarded by the Semaine de la Critique’s Jury at the Critics Week sidebar, whilst Diamond Island by French-Cambodian director Davy Chou won the SACD Prize, which is handed out by the French film screenwriters’ guild. SACD also gave special mention to Divines, HoudaBenyamina’s debut film in Directors Fortnight.

Fatma Al Remaihi, Chief Executive Officer of the Doha Film Institute, said: “It is a great honour for the Doha Film Institute that films we supported have gained top recognition at the leading annual film event. This has truly been an exceptional year for DFI at Cannes. We started the festival with seven films selected to screen in key sections and close this year’s event with major prizes, which is a strong testament to the quality of films and filmmaking talents we have supported.

“We are delighted that their talent and creativity has been recognised by the festival jury and want to congratulate them on their success. These awards recognise the best in global filmmaking and we are privileged to have played a part in bringing these amazing projects to global audiences..” Co-financed by DFI, The Salesman won Best Screenplay for AsgharFarhadi and ShahabHosseini won the Best Actor award in this year’s Cannes Film Festival. The Salesman is produced by Memento Films Production and AsgharFarhadi Production, in coproduction with Arte France Cinéma and in association with Doha Film Institute, Memento Films Distribution and Arte France.

Forced out of their apartment due to dangerous works on a neighboring building, Emad and Rana move into a new flat in the center of Tehran. An incident linked to the previous tenant will dramatically change the young couple’s life. The Salesman stars ShahabHosseini (A Separation) and Taraneh Alidoosti (About Elly). Farhadi won the 2012 Academy Award for Best Foreign Language Film for A Separation and the Best Actress Award at Cannes 2013 for his last film The Past.

Mimosas, a mountain odyssey with mystical elements follows a caravan through the Moroccan Atlas escorting a sheikh to be buried near his loved ones, but the quest takes a turn when the elderly and ailing sheikh dies en route. The sophomore feature from Spain’s Oliver Laxe, won the Nespresso Grand Prize at the Critics week, awarded by the Semaine de la Critique’s Jury.

The SACD Prize, which is handed out by the French film screenwriters guild went to Diamond Island by French-Cambodian director Davy Chou. This is the first narrative feature from the director, and follows an 18-year-old who leaves his village to work on the construction sites of Diamond Island, a project for an ultra-modern paradise for the rich, and a symbol of tomorrow’s Cambodia. There, he reunites with his charismatic elder brother who went missing five years earlier and introduces him to an exciting new world.

Following its SACD special mention, Houda Benyamina’s debut feature, the French drama Divines, also scooped the Camera d’Or prize. Part of the Directors Fortnight sidebar, the funny, often suspenseful and always emotionally involving drama is about a tough but naïve teenager, Dounia, who sees getting rich or dying trying as her most viable option. Her slightly more cautious friend Maimouna is less immediately willing to embrace thug life, but easily swept along for the ride.

The Nespresso Grand Prize is awarded by the Semaine de la Critique’s Jury to one of the seven feature films in competition with a cash prize of €15,000 to the winning director. Previous winners include Jeff Nichols for Take Shelter (2011), Antonio Méndez Esparza for Aquí y Allá (2012), Fabio Grassadonia and Antonio Piazza for Salvo (2013), Myroslav Slaboshpytskiy for The Tribe (2014) and last year, Santiago Mitre for Paulina.

The SACD (French film screenwriters guild) Award is given to one of the seven feature films in competition in the Critics Week section. The winning filmmaker is awarded a cash prize of €4,000. The jury is made up of filmmakers that are members of the board of directors of the SACD.

Following the success of its earlier themed series, ‘Science Fiction in Film-Spaceships in Cinema’ and ‘Fashion in Film- Costume as Character’, the Doha Film Institute is presenting a new themed programme for cinema enthusiasts in Qatar that highlights the importance of visual illusions in filmmaking to provide a real sensory experience.

Themed ‘Masters of Illusion’, the special programme runs from June 1^st to 5^th at the Katara Drama Theatre, and explores the fascinating world of visual perceptions created by master filmmakers to provide audiences with a cinema experience that tricks the mind through the art of deception. ‘Masters in Illusion’ series includes a vibrant line-up of films from some of the most celebrated filmmakers who have defined the use of illusions in their mise-en-scene and added to its popularity along with a master class, ‘Masters of Illusions, Masters of World’, by international film expert and programmer Teresa Cavina.  

The special screening line-up includes Federico Fellini’s 8½’  (Otto e Mezzo), The Matrix by the Wachowskis, Guillermo del Toro’s Pan’s Labyrinth, The Prestige by Christopher Nolan, The Mummy/ The Night of Counting the Years (Al-Mumia’) from Shadi Abdel Salam, Andrei Tarkovsky’s Mirror and Tim Burton’s Alice in Wonderland. Teresa Cavina’s Master Class on June 3^rd will help audiences find out how such great filmmakers as Federico Fellini, Christopher Nolan and Andrei Tarkovsky, among others, built their film universes around optical illusions to create a fictional world that we inhabit and believe in.

Teresa Cavina is an Italian festival programmer, script analyst and co-production expert. She was a programmer at the Venice International Film Festival and Festival del Film Locarno, and founder and artistic director of the Rome Film Festival. Cavina has also served as the artistic director of the Festival International de Programmes Audiovisuels (FIPA), and programming director of the Abu Dhabi Film Festival. She also founded the New Cinema Network in Rome, an international co-production platform featuring training and support for second-time filmmakers.

The Prestige (USA/UK/2006) from Christopher Nolan narrates the friendly rivalry between stage magicians Robert Angier and Alfred Borden in the 19^th century that becomes a vengeful battle when a trick goes wrong, with tragic results. The film is jammed with mind-bending plot twists – a hallmark of director Christopher Nolan’s films – but perhaps what is most gratifying is that ‘The Prestige’ is itself structured like an elaborate magic trick. The film screens at 9:00 PM on Wednesday, June 1^st.

Andrei Tarkovsky’s Mirror (Russia/1975) is generally considered one of cinema’s masterworks, is an ethereal pastiche of significant moments in the life of a dying poet. The film jumps among three discrete time periods, when Alexei, the film’s narrator is a child in the mid-1930s, an adolescent during World War II, and very ill in his forties. Over the course of the film, we are witness to Alexei’s memories and secondhand memories, dreams about his mother, newsreel footage of WWII and the Spanish Civil War and scenes of the present – all loosely drawn from Tarkovsky’s own experiences and centring on family relationships and the recent history of Russia. The film screens at 9:00 PM on Thursday, June 2^nd.

Guillermo del Toro’s ‘Pan’s Labyrinth (El laberinto del fauno ) (Spain/Mexico/USA/Mexico/2006) is about the adventures of young Ofelia who moves between the magical world of the labyrinth and the brutal conflict of her home. The film is wonderfully ambiguous as to whether the labyrinth is merely a product of her overactive imagination. Ofelia is a lover of fairy tales, and it is her firm belief in the enchanted realm that provides ‘Pan’s Labyrinth’ with its enduring charm. The film screens at 5:30 PM on Friday, June 3^rd.

The Matrix (USA/Australia/1999) by the Wachowski Brothers is a brilliant pastiche of references to dystopic novels like ‘Nineteen Eighty-Four’ and ‘Brave New World’ and tropes borrowed from pop-culture items like ‘The Terminator’, as well as a liberal dose of contemporary cognitive theory. In our age of “the 1%” and the Panama Papers, its consideration day-to-day reality as an illusory construct used to control the masses remains as relevant as ever. Intelligent, politically astute and highly entertaining, ‘The Matrix’ screens at 9:00 PM on Friday, June 3^rd.

The Mummy/ The Night of Counting the Years (Al-Mumia’)(Egypt/1969) from Shadi Abdel Salam is shot almost entirely at dusk or dawn, and is a haunting, dreamy story of an Egypt in search of its identity – one in which the dead, forgotten for millennia, seem ever-present, while the living fight over their legacy. When ancient pharaonic artifacts are found for sale on the black market late in the 19^th century, Egyptian authorities jump into action, determined to prevent further tomb-raiding and preserve the relics of antiquity. It’s an eerie tale inspired by the real-life discovery of a cache of royal mummies and screens at 5:30 PM on Saturday, June 4^th.

Federico Fellini’s 8½’ (Otto e Mezzo) (Italy/France/1963) is a truly brilliant film that has been ensconced in the Western canon since the moment of its release in 1963. A sort of comical and bittersweet tour of the mind of a conflicted artist, the film is made up of Guido’s dreams, daydreams, imaginings of his upcoming film and his memories, as they all puncture, embellish or distract from his current reality. The film screens at 9:00 PM on Saturday, June 4^th.

The series also includes a free family screening of Tim Burton’s Alice in Wonderland (USA/2010)at 2:30 PM on Saturday, June 4^th. Based on Lewis Carroll's fantasy novels, Alice's Adventures in Wonderland and Through the Looking-Glass, and inspired by Walt Disney's 1951 animated film of the same name, the fantasy film tells the story of a nineteen-year-old Alice Kingsleigh, who is told that she can restore the White Queen to her throne because she is the only one who can slay the Jabberwocky, a dragon-like creature that is controlled by the Red Queen and terrorizes Wonderland's inhabitants.

DFI’s Thematic Series, part of DFI Cinema, provides cultural and creative discoveries for audiences in Doha all year long, making a valuable contribution to the diversity of screen culture in the region. The initiative is aimed at strengthening appreciation for the arts and contributing to the evolution of Qatar’s rich cultural fabric, and offers audiences in Doha a unique opportunity to view films that may not necessarily reach commercial cinemas, and exposes them not only to the history of the medium but also introduces them to new perceptions through a diverse program.

For ticket prices and more details, please visit: www.dohafilminstitute.com

The Doha Film Institute’s special presentation series, ‘Masters of Illusion’, part of DFI Cinema, will present the restored versions of three cult classics, The Mummy, Mirror and 8½’, that highlight the importance of visual illusions in filmmaking to provide a real sensory experience.

The special programme runs from June 1st to 5th at the Katara Drama Theatre, and explores the fascinating world of visual perceptions created by master filmmakers to provide audiences with a cinema experience that tricks the mind through the art of deception. Included in the line-up is The Mummy/ The Night of Counting the Years (Al-Mumia’) from Egyptian master ShadiAbdel Salam, that has been restored by Martin Scorsese’s Film Foundation World Cinema Project, that preserves, restores and distributes neglected films from around the globe.

The programme also includes screenings of the restored copies of Federico Fellini’s 8½’ (Otto e Mezzo) and Andrei Tarkovsky’s Mirror for the very first time in the Gulf region. Other stellar titles included in the programme; The Matrix by the Wachowskis which was a breakthrough in world of special effects and rocketed the career of Keanu Reeves, Guillermo del Toro’s Pan’s Labyrinth, The Prestige by Christopher Nolan, revered for his work on the Batman series and Inception, and Tim Burton’s Alice in Wonderland, the prequel to ‘Alice through the looking glass’ releasing in cinemas this week.

The Prestige (USA/UK/2006) from Christopher Nolan screens at 9:00 PM on Wednesday, June 1st.

Andrei Tarkovsky’s Mirror (Russia/1975) is generally considered one of cinema’s masterworks, screens at 9:00 PM on Thursday, June 2nd.

Guillermo del Toro’s ‘Pan’s Labyrinth (El laberinto del fauno ) (Spain/Mexico/USA/Mexico/2006 screens at 5:30 PM on Friday, June 3rd.

The Matrix (USA/Australia/1999) by the Wachowskis screens at 9:00 PM on Friday, June 3rd.

The Mummy/ The Night of Counting the Years (Al-Mumia’)(Egypt/1969) from Shadi Abdel Salam is an eerie tale inspired by the real-life discovery of a cache of royal mummies and screens at 5:30 PM on Saturday, June 4th.

Federico Fellini’s 8½’ (Otto e Mezzo) (Italy/France/1963) screens at 9:00 PM on Saturday, June 4th.

The series also includes a free family screening of Tim Burton’s Alice in Wonderland (USA/2010)at 2:30 PM on Saturday, June 4th.

DFI’s Thematic Series, part of DFI Cinema, provides cultural and creative discoveries for audiences in Doha all year long, making a valuable contribution to the diversity of screen culture in the region. The initiative is aimed at strengthening appreciation for the arts and contributing to the evolution of Qatar’s rich cultural fabric, and offers audiences in Doha a unique opportunity to view films that may not necessarily reach commercial cinemas, and exposes them not only to the history of the medium but also introduces them to new perceptions through a diverse program.

For ticket prices and more details, please visit: www.dohafilminstitute.com

Northwestern University in Qatar (NU-Q) has released results from its Media Industries in the Middle East report, a cooperative effort between NU-Q and the Doha Film Institute (DFI), on television programming during the month of Ramadan. This is an important time for television in the Middle East, with a surge in all television viewing, particularly Arabic series.

The region-wide study, Media Industries in the Middle East, 2016, was released earlier this year and it pointed to a general expansion of channels and offerings across all sectors, including broadcast, print, and digital media. The report showed that new content also tended to represent a wider variety, created by a broader diversity of content producers.

“Northwestern’s report on the media industry has provided additional resources to understanding the media landscape in this region,” Everette E. Dennis, dean and CEO of Northwestern University in Qatar. “Over the past several years, we have been building a body of research that takes a keen look at media and entertainment consumption in the region. As we move into the Ramadan season, it is an apt time to explore our findings on Ramadan television programming.”

The report delved into 11 separate media sectors, including television, magazines, radio, religious TV and TV programming during Ramadan. In the chapter on Ramadan, the report found that on five top free-to-air, general interest channels three-quarters of all programs shown during Ramadan are scripted, compared to about half during the rest of the year. Drama is also mentioned as the most popular category. Prayers and religious programs also increase substantially, accounting for an average of eight hours of programming per week during Ramadan, versus two hours during non-Ramadan months.

During Ramadan, Arabic TV channels are more popular than at other times of the year. At five major stations in the report’s focus countries, almost half of the programming consisted of scripted material – that is about three times more than other months. Among the non-scripted programs, those with a religious theme become more important.

Joe Khalil, associate professor in residence at Northwestern, provided expert commentary for the report in which he said, “Entertainment television channels traditionally compete over the rights for the latest in Turkish, Egyptian, Syrian, and Gulf dramas – with increased production in UAE and Saudi Arabia. They also compete against government-owned television channels that tend to offer programs with ‘extra local flair’ – usually religious and social programming.“

Khalil noted today that events surrounding the migrant and refugee status for many Syrians has qualitatively transformed the Ramadan drama offerings this year across the region - offering creative and technical skills to Egyptian, Lebanese and Gulf productions. In addition, he said, that while dubbed and original series continue to be produced, “Gulf-produced children and adult animation shows have also become a regular feature of Ramadan offerings with a significant broadcast and online followers.”

The media industry report noted that television stations in the region prepare significantly for the Ramadan season and often broadcast a new episode every day, rather than once a week; however, the share of reruns versus first-run shows is also larger during Ramadan as channels show reruns on the same day so viewers can catch missed episodes of newly released series. 

The Doha Film Institute today announced that the fourth edition of the Ajyal Youth Film Festival will be held from November 30 to December 5, 2016.

‘Ajyal’, Arabic for ‘generations’, brings people of all ages together through screenings and events that inspire creative interaction and stimulate cinematic dialogue. Youth participation is at the heart of the Festival and its jury programme which provides young people between the ages of 8 and 21 with an opportunity to watch, analyse and discuss films from all over the world, developing critical thinking, self-expression, and an appreciation of cinema.

The Cultural Village Foundation-Katara continues as the ‘Cultural Partner’ to the Festival for the fourth year running. Occidental Petroleum Corporation will serve as a ‘Principal Partner’ marking its fourth year of partnership with the Institute, further building on its commitment to the local community by playing an active role in nurturing talent and strengthening Qatar’s cultural landscape.

Fatma Al Remaihi, Chief Executive Officer of the Doha Film Institute and Director of the Ajyal Youth Film Festival, said: “We look forward to building on the successes of the Ajyal Youth Film Festival that proved that films can do more than just entertain; it can educate, inspire and bring communities together. One of the key initiatives of the Doha Film Institute in developing Arab voices is fostering an understanding and appreciation of positive cinema among children and youth. This is reflected in the Ajyal Jurors, whereby youth from across the world, celebrate world cinema through dialogue and discussion, challenging their thought process and helping shape perceptions about issues affecting today’s youth.”  

The third Ajyal Youth Film Festival hosted nearly 600 young jurors of 45 nationalities, alongside a dynamic public programme of screenings and events which included the MENA premiere of Hany Abu Assad’sThe Idol, the world premiere of Bilal, the first animated feature from the GCC region and the first of its kind inclusive cinema experience in the region, the screening of Hero and the Message to mark UN International Day of Persons with Disabilities.

The film programme featured 80 films from 36 countries along with 50 public screenings and a range of interactive panels, masterclasses and workshops designed to educate, engage and entertain.  The line-up included the Middle East Premieres of Pixar Animation Studios The Good Dinosaur, Berlin Film Festival Golden Bear-winner, JafarPanahi’sTaxi, one of the final anime sensations from Ghibli Studios, When Marnie Was There, Doha Film Institute grantee Lamb by Yared Zeleke and Cannes ‘Un Certain Regard’ opener An, by Japanese director and Qumra 2016 master Naomi Kawase, along with a programme of 17 films by Qatar-based filmmakers that screened in the popular Made in Qatar section.

The festival also presented the third edition of the Doha Giffoni Youth Media Summit, hosted by the Doha Film Institute in partnership with Italy’s Giffoni Experience, where it showcased its Planet-Y initiative with five projects that will be nurtured in the coming months to promote the inclusive growth of youth talent around the world, especially in conflict areas.

Ajyal 2015 also hosted the ‘Ajyal Creativity Hub’ which offered guests an opportunity to explore an out-of-cinema experience, helping them discover the latest in technology, the media arts and world cultures. The Ajyal Creativity Hub hosted specially curated workshops, performances and fun activities devised to spark the imagination and promote creativity. Key components of the Ajyal Creativity Hub, which is free for the public to attend, include the popular Sandbox digital exhibition space, Family Weekend activities, and the festival’s special 2015 initiative – Geekdom: Video Game Exhibition.

More details will be announced in the coming months. Registration for the youth jury will open in September. 

The Doha Film Institute has announced the grantees of its Qatari Film Fund as part of the Spring 2016 cycle. Four short films by Qatari directors have been selected for this grant cycle, which will cover development, production, post-production, mentorship, and equipment & production support from the Institute.

Launched in 2015, the Qatari Film Fund is dedicated to supporting short and feature filmmaking by Qatari directors. It is committed to the development of up to four feature films, and the development, production and post-production of up to eight short films annually. The short film projects are chosen through two annual calls for projects for funding up to QAR 182,500 in total. The Doha Film Institute received twelve projects from Qatari directors for the Spring 2016 call for short films. The final four that made the cut include: The World is Blue by Amna Al-Binali; Elevate by Hamida Issa; Ya Hoota by Latifa Al-Darwish and Abdulaziz Yousef; and Boy Meets World by Naif Al-Malki.

Fatma Al Remaihi, Chief Executive Officer of the Doha Film Institute, said: “The Qatari Film Fund is one of our key initiatives to foster a culture of home-grown filmmaking and talent development. It offers the platform for Qatari filmmakers to develop their short and feature film projects with the support and guidance of the film professionals at the Institute. The short films that have been selected for the grants presented compelling sketches of life in Qatar and demonstrate the creativity and talents of our emerging filmmakers.”

Al-Binali’s The World is Blue is the story of Hend, a 19-year-old Qatari woman, who sees in blue, and hears whispers that stop only when she reads. Her mother believes that marrying off her daughter will cure this strange condition. During her engagement party, Hend struggles to decide whether to go through with the marriage, or keep her blue world and the voices in her head. Her choice strains relations with her mother, whom Hend considers the most important person in her life.

Hamida Issa’s Elevate is about Latifa, a young Qatari woman in her 20s who is always accompanied by Rosie, her Filipino maid. One day, they get stuck in an elevator and find that, while they are isolated from the material world, they are also liberated from social constraints.

Ya Hoota by Latifa Al-Darwish and Abdulaziz Yousef portrays the life of a curious little girl, who is determined to save the moon from a lunar apocalypse so she can find out what happens next in the story her grandmother tells her. As the catastrophe means there will be no moonlight, the girl seeks out the mythological characters that populate her grandmother’s stories to use their magical powers to reach the moon. Along with her cousin, she leaves the house in search of the Afternoon Donkey, which she strongly believes in, while her cousin wants to prove to her that the creature does not exist. While walking in the neighborhood, they mistake a poor old woman for the Afternoon Donkey.

Boy Meets World by Naif Al-Malki narrates the story of 9-year-old Jassim who lives in a time that is rapidly changing. He seems full of surprises, but to Jassim, becoming a superhero is his destined future, so he works hard to achieve it. The film depicts his environment, and his attempts to face up to his biggest challenge of fulfilling his destiny. It is a message to parents to open up the sky and allow their children to fly. The Doha Film Institute supports Qatari film talent development and localized film production through diverse initiatives. In addition to the Qatari Film Fund, the Institute will continue to provide creative and technical training and mentoring through its Training and Development Initiatives.

Qatari screenwriters, writer-directors and producers can approach the Institute with film ideas currently in the early stages of development for the Qatar Film Grants. The Institute will assist with the development, production and post-production of projects through free filmmaking workshops and in-house development, and help prepare applications for funding from the Qatari Film Fund as appropriate.

As part of its Hekayat Khaleejiya screening series which showcases ‘Stories from the Gulf,’ the DFI Cinema will showcase Emirati director Saeed Salmeen’s captivating feature film Going to Heaven (UAE/2015/Arabic) on August 4 and 5, at 7.30 PM at the Museum of Islamic Art Auditorium. Hekayat Khaleejiya is dedicated to showcasing cinematic voices from the Gulf region, and presents films followed by question-and-answer sessions with the filmmakers to gain insight into their work and process.

A 90-minute film, Going to Heaven revolves around the events in 11-year-old Sultan’s life. Seeking to return to the arms and the tenderness of his long-lost grandmother, Sultan embarks on an eventful journey from Abu Dhabi to Fujairah via Dubai. The film had its world premiere at the 2015 Dubai International Film Festival. Written by Saeed Salmeen, the film stars Jumaa Ibrahim Al Zaabi, Ahmed Ibrahim Al Zaabi, Fatima Al Taei, Mariam Sultan and Abdullah Masood. Saeed Salmeen graduated from the New York Film Academy in Abu Dhabi.

He has won awards for the short film Huboob (2006) at the Emirates Film Competition (EFC) and the Dubai International Film Festival, and continued this success with the short Al Ghobna (2007), which won award at the EFC and was screened at Dubai. His first feature film, Sun Dress (2010), screened at the Abu Dhabi Film Festival and won the Special Jury Award in the Muscat International Film Festival. Tickets are priced QAR35; student tickets are priced at QAR25 and must present a valid ID to receive the discount. Tickets can be purchased from the Museum of Islamic Art DFI Ticket Outlet across from the MIA Auditorium on Thursday from 12 to 8 PM and on Friday from 2 to 8 PM.

For more information, please log on to: www.dohafilminstitute.com

A diverse slate of 14 films supported by the Doha Film Institute will be screened at the 22^nd Sarajevo Film Festival to be held from August 12 to 20, 2016, underlining the strong relations shared by the two entities, providing another compelling platform for emerging filmmakers to highlight their talent.

Fatma Al Remaihi, Chief Executive Officer of the Doha Film Institute, said: “We share strong synergies with the Sarajevo Film Festival, a prestigious event that showcases the newest trends in filmmaking. The industry partnership between Sarajevo Film Festival and our own initiative, Qumra, has created a strong sounding board that supports emerging talent from Qatar and beyond and fosters cultural exchange. We are confident of the positive reception to these films, which present diverse themes and distinctive narrative structures that will resonate with audiences across the world.”

Among the highlights of the Doha Film Institute showcase is the screening of two films in the exclusive ‘Sarajevo Film Festival Partner Presents’ category. These include Hedi (Tunisia, Belgium, France, Qatar/2016), the recipient of the Institute’s Fall Grant 2013, directed and written by debutant Mohamed Ben Attia. A romantic comedy about Hedi, a simple young man, who takes life as it comes, the film charts his relationship with an activity leader during the week of his wedding celebrations. Highly acclaimed at Berlinale 2016, where it was the first Arab film in competition in two decades, the film won the Best First Feature Award and the Silver Bear for Best Actor.

Also to be screened in the same category is the feature documentary We Have Never Been Kids (Egypt, UAE, Qatar/2015), directed by Mahmood Soliman, and the recipient of the Spring Grant 2014. The film tracks the subjects of Soliman’s 2003 documentary Living Among Us, over the next 10 years reflecting the socio-political changes in Egypt. Dogs (Romania, France, Bulgaria, Qatar/2016), a recipient of the Institute’s 2016 Spring Grant, is screening at Sarajevo Film Festival in the Feature Film competition for its regional premiere. Directed by Bogdan Mirica, the film had earlier been screened in the Un Certain Regard at Cannes Film Festival, and narrates the story of a man who wants to sell the land he has just inherited near the Romanian border with Ukraine.

Under the Shadow (Iran, UK, Jordan, Qatar/2016), directed by Babak Anvari, is the recipient of the Doha Film Institute’s Spring Grant 2015. Screening in the Kinoscope segment, the film is set in Tehran 1988, and revolves on the life of Shideh who lives amid the chaos of a war. Accused of subversion she is blacklisted from medical college and is in a state of malaise. Her husband is at war and she must also take care of their daughter. The film takes a turn when Shideh, convinced that supernatural forces are trying to possess her daughter, finds no choice but to confront them.

In the ‘In Focus’ segment, another Spring Grant 2014 recipient is being screened: Frenzy (Turkey, France, Qatar/2015) is directed by Emin Alper and narrates the story of Kadir, who is released after a 15-year prison term, and goes in search of his younger brother Ahmet. Kadir takes up job as an informant in Istanbul and when Ahmet shuts himself up in his house to care for a wounded dog, he thinks he is being threatened by militants. In the CineLink Co-Production Market, One of These Days (Lebanon, Qatar/2017), the recipient of the Doha Film Institute’s 2012 Spring Grant, currently in post-production is being showcased. Directed by Nadim Tabet, the film is set in Beirut on an autumn day in a city on the edge of chaos. Four youngsters question themselves about coming of age concerns.

A number of films that are ‘Made in Qatar’ by Qatari filmmakers and those who call the country home will also be screened. These include: The Palm Tree by Jasim al Remaihi; Asfoora by Mayar Hamdan; Good as New by Jasser Alagha; Yellow Nights by Abdullah Al Mulla; The Notebook by Amna Al-Binali; Light Sounds by Karem Kamel; Veganize It by Khalid Salim; and To My Mother by Amina Ahmed Al Bloshi. Doha Film Institute has formed a strategic alliance with Sarajevo Film Festival to strengthen connections between Arab and European cinema. Over the past years, the Institute has curated films for SFF, while Danis Tanović, the celebrated Bosnian filmmaker, has served as a Qumra Mentor. Delegates of Sarajevo Film Festival have taken part in mentoring sessions with Qatari filmmakers and participate in both Qumra and Ajyal Youth Film Festival.

The Sarajevo Film Festival has a special focus on the region of South-East Europe. The festival is marked by high-quality programmes, a strong industry segment, an educational platform for young filmmakers and the participation of leading industry experts. Sarajevo Film Festival serves as a common platform for film businesses from all over the region, setting the future standards in festival organisation, film promotion and presentation in South-East Europe.