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MIRAMAX ANNOUNCES PARTNERSHIP WITH DOHA FILM INSTITUTE TO ELEVATE ARABIC-LANGUAGE STORYTELLING - Middle East Business News and Information

MIRAMAX ANNOUNCES PARTNERSHIP WITH DOHA FILM INSTITUTE TO ELEVATE ARABIC-LANGUAGE STORYTELLING - Middle East Business News and Information

Mid East Infoa day ago
The Program Will Support DFI's Series Program and Original Content Development in the Region
DOHA, QATAR – August 2025 – Miramax, the award-winning global film and television studio owned by beIN MEDIA GROUP (beIN) and Paramount Global, announced today the DFI x Miramax Writer's Program, a major partnership with Doha Film Institute (DFI) aimed at supporting the development of premium, local Arabic-language content across the Middle East and North Africa. The program will provide training, mentorship, and production and distribution resources for both emerging and established Arab writers, offering critical support for their projects, contributing to the expansion of the region's series content output, and strengthening Qatar's position as a leading media hub in the Middle East.
The DFI x Miramax Writer's Program will involve the selection of up to five local and regional projects to develop each year. The Writer's Program will tie into DFI's existing Series Programs, with the goal of extending the reach and impact of these initiatives. The collaboration between Miramax, renowned for its film & television productions, and DFI, the leading film institute in the Middle East, addresses a key gap in the region's media industry by offering not only development support but also direct access to Miramax's vast distribution and sales network to reach audiences worldwide.
'At Miramax, we believe great storytelling knows no borders,' said CEO, Jonathan Glickman. 'This partnership with DFI is a powerful step toward amplifying emerging Arabic-language voices and sharing their stories with audiences worldwide.'
Fatma Hassan Alremaihi, CEO of DFI said, 'At Doha Film Institute, we believe in the transformative power of storytelling to unite, inspire, and celebrate cultural identity. Our partnership with Miramax marks an exciting new chapter in championing original Arabic-language content that reflects the depth and diversity of our region. By creating compelling stories in our own voice, we not only preserve our heritage but also bring communities closer together through the universal language of cinema.'
Miramax has had a standout year across both film and television, with highlights including Academy Award®-nominated The Holdovers; The Beekeeper (which grossed over $160 million worldwide); indie-hit Strange Darling ; Golden Globe-nominated series The Gentlemen which launched in March 2024 ranking #1 for three weeks on Netflix and was renewed for a second season; and the fourth installment of the Bridget Jones franchise – Bridget Jones: Mad About the Boy , which premiered February 14, 2025. Upcoming Miramax projects include: Roofman , starring Channing Tatum, Kirsten Dunst and Peter Dinklage, set to premiere October 10, 2025, with Paramount Pictures distributing domestically and in the UK; the next installment in the Scary Movie franchise, set to premiere Summer 2026, distributed globally by Paramount Pictures, with Marlon, Shawn, and Keenen Ivory Wayans writing and producing; Colman Domingo's directorial debut Scandalous , starring Sydney Sweeney and David Jonsson; and The Faculty remake, being written by breakout talent Drew Hancock.
About MIRAMAX:
A beIN MEDIA GROUP and Paramount company headquartered in Los Angeles, MIRAMAX is a global film and television studio best known for its award-winning, original films.
Led by Chief Executive Officer Jonathan Glickman, MIRAMAX is one of the most active and robust independent film and television studios. Recent and upcoming film projects include the fourth installment of the Bridget Jones franchise, Bridget Jones: Mad About the Boy (which grossed $130 million internationally); gearing up to make the sequel to the hit film The Beekeeper (which grossed more than $160 million worldwide), with Jason Statham returning and Timo Tjahjanto directing; Roofman , starring Channing Tatum, Kirsten Dunst and Peter Dinklage, set to premiere October 10 , 2025; 4 Kids Walk into a Bank starring Liam Neeson and directed by Frankie Shaw; Colman Domingo's directorial debut Scandalous , starring Sydney Sweeney and David Jonsson; The Faculty remake, being written by breakout talent Drew Hancock; and the next installment in the Scary Movie franchise, set to premiere Summer 2026, distributed globally by Paramount Pictures, with Marlon, Shawn, and Keenen Ivory Wayans writing and producing.
The studio's growing slate of global television content includes the series adaptation of Guy Ritchie's feature film for MIRAMAX, The Gentlemen , which spent three weeks as Netflix's top-performing English-language show globally and is currently in production for season two. Projects in development include the TV adaptation of Cop Land, with the film's director James Mangold attached; Shall We Dance , with Jennifer Lopez attached to produce; The Key Man , a limited series based on the acclaimed book about disgraced financier Arif Naqvi; and an adaptation of the 2024 Oscar-winning film The Holdovers , with Alexander Payne involved. MIRAMAX is also developing series based on the critically acclaimed and commercially successful films Gangs of New York , Chocolat, Prêt-à-Porter and The English Patient . The studio also secured television rights to the blockbuster Halloween franchise, with additional projects in development internationally.
Miramax films have received 278 Academy Award® nominations and 68 Oscars®, including four Best Picture awards.
About Doha Film Institute:
Doha Film Institute is an independent, not-for-profit cultural organisation. It supports the growth of the local film community through cultivating film appreciation, enhancing industry knowledge and contributing to the development of sustainable creative industries in Qatar. The Institute's platforms include funding and production of local, regional and international films; skills-sharing and mentorship programmes; film screenings; and specialised film events. With culture, community, learning and entertainment at its foundation, the Institute is committed to supporting Qatar's 2030 vision for the development of a knowledge-based economy.
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Luxor African Film Festival Opens Film Submissions
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Luxor African Film Festival Opens Film Submissions

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Sonallah Ibrahim (1937-2025): The sixties seer - Culture - Al-Ahram Weekly
Sonallah Ibrahim (1937-2025): The sixties seer - Culture - Al-Ahram Weekly

Al-Ahram Weekly

time16 hours ago

  • Al-Ahram Weekly

Sonallah Ibrahim (1937-2025): The sixties seer - Culture - Al-Ahram Weekly

Once, an artist from Jerusalem who was staying with me insisted that we go and see him. I called his home number. That may have changed more recently but, till the last time I saw him, Sonallah never owned a mobile phone. His hallowed answering machine came on and once I gave my name, I could hear his own perky, welcoming voice as he picked up… That must've been 2006. Sonallah was already a recipient of the prestigious Al-Owais Award (in 1993), a major literary figure by any count, but he was still—always—eminently approachable. A few months shy of seventy, he was so energetic he came across as much younger. I remember being lost, driving from Maadi to Sonallah's sixth-floor apartment in Heliopolis. I had been there before, but my state of mind was wrecking navigational havoc. This was a difficult time for me, with anxiety attacks and premonitions of doom marring almost every interaction. I remember Sonallah noticing how jittery I was, advising me against self-medicating. He was a reticent, measured, drily humorous interlocutor, but he managed to be among the warmest, most deeply empathetic people I knew. Above all I remember the awe with which my artist friend regarded the small, spiky figure as he bustled about, serving us hot drinks. What drew Palestinians to his work so much? Even among other paragons of the Generation of the Sixties—the literary movement that followed Naguib Mahfouz and others whose careers had started in the first half of the 20th century, and included many celebrated figures—Palestinians found no one as compelling as Sonallah. In 2007, the late novelist Gamal Al-Ghitani (1945-2015) told me there were only two original achievements in the Generation of the Sixties: his own return to canonical storytelling; and Sonallah's hyperrealism. Both novelists believed in the Sixties ethos, that mixture of socialism, Arab nationalism, and secularism that emerged out of Gamal Abdel-Nasser's revolutionary dictatorship (1954-1970). Both had been imprisoned for political activities. Sonallah had it harder, though: while a law student at Cairo University, in 1959, the Nasser regime arrested him for belonging to a communist organisation. He was barely 20, and he spent what would've been his university years in prison, five years in total. Still, Sonallah remained loyal, if not to the regime's repressive practices, then to Nasser's vision for national liberation: pan-Arab, anti-colonial, and devoted to the most dispossessed sectors of the population… Ghitani fought for these values from within the establishment. In 1993, under Nasser's neoliberal heir Hosni Mubarak, he founded the state's most successful cultural publication, Akhbar Al-Adab, a weekly. He not only edited Akhbar Al-Adab but, through this and other roles, gathered enough influence and visibility to function as a kind shadow culture minister. For his part Sonallah never accepted an official—or indeed any—position in his life. He never worked with private-sector publishers, either, preferring the independent Dar Al- Mustaqbal Al-Arabi for the most part. In retrospect I can see he was not just fiercely guarding his independence, since his work often dealt explicitly with political issues, but also living out the Sixties ethos as faithfully as possible. After his release in 1964, Sonallah was badly off and isolated, unsure how to proceed. As he later avowed, a diary in which he noted down what was happening to him in short, terse, verb-driven sentences helped to keep him sane. He was working on short stories at the time, more involved narratives in the vein of socialist realism. But it was this straightforward record of everyday suffering—freed not just of the strictures of socialist realism, which as a young, committed communist he felt he had to follow, but of any conscious attempt at artifice at all—that eventually commanded his attention. The diary gradually morphed into That Smell, a novella that—along with the Moroccan writer Mohamed Choukri's 1972 For Bread Alone—would form the core of my own literary aesthetic and sense of modern Arabic. By general consensus it is a seminal work, evidencing the kind of quiet, spare, first-person lyricism that would not resurface in Sonallah's writing until 2007 (in Stealth). That Smell exposed the horrors and hypocrisies of a world headed for resounding collapse: within a few years, indeed, the 1967 defeat to Israel would serve as a rude awakening from the Nasserist dream of dignity and development, arguably debilitating the young republic long-term. Completed in 1964, That Smell first appeared in 1966, enthusiastically introduced by the great short story writer Youssef Idris (1927-1991), a household name at the time. Several small editions followed, some appeared cut, others were banned on publication, not because the text contained political polemic but because its minute descriptions of masturbation, for example, were deemed offensive. Here was a narrator for the times, however: a figure who was neither hero nor antihero but simply frugal witness, able to evoke the full gamut of reality by sticking with the most basic, physical information, entertaining no emotional or intellectual flights. That Smell turned Sonallah into the voice of an era. And, like any writer who produces a truly original first book, he wasn't sure what to do next. In reality he wouldn't write anything like That Smell until Stealth, when he felt compelled to return to his childhood at the age of seventy. If Sonallah marked the end of Nasser's world with a whimper in That Smell, for some three decades after that he delivered a series of bangs: long, complex, inventive satires on specific topics. Sonallah had managed to get a job at the state Middle East News Agency, but by 1968 he was in Beirut dabbling in literary translation and editing. He worked as a journalist in the German Democratic Republic for three years, studying screenwriting at the Gerasimov Institute of Cinematography (VGIK) in Moscow as of 1971. There he met the famed Syrian filmmaker Mohamed Malas, appearing in Malas' VGIK graduation project. Sonallah never worked in film, however, and by 1975—back in Cairo—he had freed himself of all journalistic commitments too. Soon his hyperrealist bangs, novels that incorporated found material—newspaper archives, personal letters, official documents—and experimented with structure, had already begun to appear: August Star (about the building of the High Dam, which he also documented in the 1967 book High Dam Human) in 1974, The Committee (a Kafkaesque critique of the ideological about-face Nasser's successor Anwar Al-Sadat undertook, allying himself with Washington and introducing 'open-door' economics) in 1981, and Beirut Beirut (an early reckoning with the Lebanese Civil War of 1975-1990 and its regional implications, drawing on Sonallah's earlier stay in the country) in 1984. Through this, even when there was no direct mention of Palestine, Sonallah dramatised and satirised the reality of Arab helplessness: not only occupation and ethnic cleansing without but Civil War, repression, and corruption within. In 2004, he became a founding member of Kefaya, the Egyptian movement for Change, which brought dissidents together in protest of the Mubarak regime. The previous year, he had spectacularly turned down the 2003 Award of the Conference on the Novel, an initiative of the government's Higher Council of Culture. For weeks after being notified he had won the EGP 100,000 honour, he kept his decision to decline it secret so that he could appear at the awards ceremony and read out a deeply moving speech turning down 'the honour of a government that does not have the credibility to bestow it.' In his statement, often remembered during the 2011 January Revolution, Sonallah made some points that have sounded truly prophetic since October 2023. 'At this moment, while we gather here, the Israeli forces are invading what remains of Palestinian territory, killing pregnant women and children and making thousands homeless, carrying out with obvious systematic precision the genocide of the Palestinian people and their displacement out of their land. Yet Arab capitals receive Israeli leaders with open arms, and only steps away from here,' that is, the Opera House grounds, where the ceremony was taking place, 'the Israeli ambassador resides, secure. And only steps away in another direction, the American ambassador occupies an entire neighbourhood while his troops spread into every corner of a homeland that was once Arab.' After Beirut Beirut, Sonallah published Zaat (1992) and Sharaf (1997)—about women and LGBTQ people in Egypt, respectively—as well as Warda (2000), a reckoning with the 1963-1976 Marxist revolution of Dhofar, Oman. The year he declined the Novel Award, he published another topical satire, Amri-kan-li (the title is a pun on 'American' and 'I am master of my affairs'). A hyperrealist response to his term as a guest lecturer at the University of California at Berkeley in 1999, its message chimed perfectly with his oppositional gesture at the Higher Council of Culture, reconfirming his commitment to speaking the political truth: a basic Sixties principle by which few had abided. Ten years later, in 2013, Zaat was made into a phenomenally popular TV show that finally turned Sonallah into a kind of household name, giving him some of the social kudos he had willingly forsaken for so long. In 2015 I ran into Sonallah at Cairo Airport. We were both on our way to the Abu Dhabi Book Fair, and before either of us knew I would end up moderating one of his panels, he greeted me like an old friend. At the event itself—reiterating his 2013 position against the Muslim Brotherhood—Sonallah spoke provocatively against unthinking religiosity, insisting we cannot take the alleged traditions of the Prophet Mohamed at face value, without understanding the political context in which they were cited (or, as he kept saying, made up in return for money). Many in the audience were visibly offended, but his tirade was hilarious. And I was incredibly proud to be sitting next to him. * A version of this article appears in print in the 21 August, 2025 edition of Al-Ahram Weekly Follow us on: Facebook Instagram Whatsapp Short link:

​Don't miss the AUC's virtual discussion on the first-ever book-length history of Arab graphic design - Lectures - Al-Ahram Weekly
​Don't miss the AUC's virtual discussion on the first-ever book-length history of Arab graphic design - Lectures - Al-Ahram Weekly

Al-Ahram Weekly

time19 hours ago

  • Al-Ahram Weekly

​Don't miss the AUC's virtual discussion on the first-ever book-length history of Arab graphic design - Lectures - Al-Ahram Weekly

American University in Cairo Tues 26, 7pm, (Cairo Time): Join a special virtual discussion of A History of Arab Graphic Design (Arabic edition), the first-ever book-length history of Arab graphic design, now available in Arabic, co-authored by Bahia Shehab and Haytham Nawar. Nawar, associate professor of design at the American University in Cairo, will be in conversation with Huda Smitshuijzen Abi Farès, Founder of the Khatt Foundation; Yasmine Nachabe Taan, associate professor of Art and Design History and Director of the Institute of Art in the Arab World at the Lebanese American University; and Mahmoud El-Hosseiny, designer, writer, and researcher. The event will be moderated by Al-Ahram nwespaper journalist Sayed Mahmoud. The conversation will be conducted in Arabic. Watch on the AUC Press Facebook page. Diwan Bookstore 159, 26th of July St, Zamalek, Tel 01222 40 7084 Tues 26, 7pm: August book discussion about the Japanese bestseller What You Are Looking For Is In The Library by Michiko Aoyama. The discussion will be moderated by Ohoud Saad. Diwan Magara, El-Sheikh Zayed Wed 27, 7pm: August book discussion presents Little Women book by Louisa May Alcott. It will be moderated by Noha Bassiouny. Misr Al-Gedida Public Library 42 Al-Oroba St, off Beirut St, Misr Al-Gedida, Tel 011 42464426 Mon 25, 5.30pm: To mark the birth anniversary of poet Wessam El-Dewek, professor of philosophy Emad El-Adly will present a reading in the entire works of El-Dewek. * A version of this article appears in print in the 21 August, 2025 edition of Al-Ahram Weekly Follow us on: Facebook Instagram Whatsapp Short link:

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