logo
Palestine Film Institute Calls for Decision-Makers to Amplify Palestinian Filmmakers' Voices at Cannes Docs Showcase

Palestine Film Institute Calls for Decision-Makers to Amplify Palestinian Filmmakers' Voices at Cannes Docs Showcase

Yahoo20-05-2025

At today's Cannes Docs Palestine showcase, where four works in progress were pitched to industry delegates, spokespersons of the Palestine Film Institute (PFI) called for Cannes and key decision-makers to amplify the voice of Palestinian filmmakers, as the war in Gaza is causing an unprecedented humanitarian crisis.
'Cannes Docs provides a vital platform where Palestinian stories can present our true complex realities beyond headlines and transcend imposed boundaries,' IDFA-winning Palestinian filmmaker Mohamed Jabaly ('Life is Beautiful,' 'Ambulance'), in charge of the PFI's Palestine Documentary Hub, told Variety. 'The powerful medium of documentary allows filmmakers to transform restriction into liberation at a moment when countering misrepresentation and reclaiming our narratives is more important than ever.'
More from Variety
Spike Lee Shades Trump at Cannes: 'I Don't Know How Much We Can Talk About American Values Considering Who Is President'
'Legally Blonde' Director Robert Luketic to Tackle Survival Thriller 'Resurface' (EXCLUSIVE)
Denzel Washington Appears to Fight Back Against Pushy Cannes Photographer and Yells 'Stop!' During Tense Red Carpet Moment
Added producer Mohanad Yaqubi, PFI public program consultant: 'The return of the Palestine Pavilion to Cannes [the first time being in 2018] at this time represents the strength of artistic persistence and the potential of creative voices that refuse to be silenced. It is extremely important that festivals with global influence, such as Cannes, hold space for Palestinian artists to be included in cinematic conversations during our struggle against attempted erasure in an ongoing genocide,' he stated.
Taking center stage at the Marché du Film's Lerins 4, both Jabaly and Yaqubi warmly thanked Cannes Docs' organizers for their long-standing partnership. 'It's the 7th time that we've collaborated, and we are extremely thankful for Cannes Docs' unwavering support,' they stated.
Pierre-Alexis Chevit, head of Cannes Docs, said: 'We've been having Palestinian Showcases of docs-in-progress since 2018, as it's always been very important for us to give visibility to stories from Palestine and the diaspora and help preserve all Palestinian narratives. Today, this obviously has an even greater importance and urgency than ever before,' he commented.
The four documentaries from first-time filmmakers showcased today – 'Wolf Game' by Patricia El, 'My Rebel Heart' by Ida Kat Balslev, 'Sama' by Rabab Khamis and 'Asphalt' by Hamza Hamideh – were selected by an independent jury including Francesco Gai Via, Venice Film Festival programmer and industry expert, Arte France's experimental documentary expert Rasha Salti and Keisha Nicole Knight, founder of Solidarity Media Network.
London-based producer and curator Elhum Shakerifar (Hakawati), Bafta-nominated for 'A Syrian Love Story,' said, 'The four projects selected for Cannes speak to different aspects of the Palestinian experience, with the potential to become bold, cinematic and important works that will resonate widely.' She also underlined the recent success of other doc works promoted by the PFI that gained acclaim and visibility: the Palestinian/Jordanian 'A State of Passion' by Carol Mansour and Muna Khalidi, selected for the Cairo, Geneva's Forum on Human Rights and Sheffield festivals among others, and 'The Palestine Comedy Club' by Alaa Aliabdallah (Palestine/U.K.) handled by First Hand Films, which was pitched at last year's Cannes Docs Palestine Showcase.
All four films are backed by prominent producers and/or filmmakers, including 'From Ground Zero's' Palestinian producer Rashid Masharawi and 'Apolonia, Apolonia's' Danish producer Sidsel Lønvig Siersted.
'Asphalt,' (Hamza Hamideh, Jordan)
The film is produced by Jordanian/Dutch seasoned producer and cinematographer Mahmoud Massad, a Sundance winner for the film 'Recycle.'
'Amid the escalating war in Gaza, 20-year-old Debs, a Palestinian refugee from the Baqa'a camp in Jordan, dreams of marrying his beloved. He is forced to postpone the wedding due to the death of his relatives in Gaza, one after another,' runs the logline.
'I chose to shoot my movie in the Baqa'a camp – perhaps the biggest in the world – because people see this place as a desolate ghetto, but I have family there. I wanted to give a different image of this place,' said the director. The film, in post-production, is due for release in 2026.
'My Rebel Heart,' (Ida Kat Balslev, Denmark, Palestine)
Prominent Danish producer Sidsel Lønvig Siersted of Siersted Film, credited for the multi-awarded and smash hit 'Apolonia, Apolonia,' a double IDFA winner in 2022, and Sony Classics' 'Aquarela' among others, is driving this project in pre-production.
Set in Gaza, the film follows young actress and activist Yara as she navigates the delicate balance between her artistic ambitions and the fight for Palestinian liberation.
'Yara fights for peace in the world and the right to become a Palestinian woman, actress, sister and daughter. But she sees limits from all fronts as she was born in Jaffa [Israel] and now lives in Ramallah [a Palestinian city in the West Bank]. 'With Israeli citizenship, she's being denied to be who she was supposed to be. Her contradictions represent the inner antagonist in the film,' said the rising filmmaking talent.
'In the film, we follow her struggle with her mum and sister, and their relationships form the emotional core. We see three generations of women facing a world that is constantly trying to redefine them. I want to honor this spirit and the courage it takes to follow your own voice, your own truth that brings us closer to a more human world,' she observed.
Siersted said she aims to deliver the film in 2026.
'Sama,' (Rabab Khamis, Palestine, France)
High-profile Palestinian producer Rashid Masharawi backs this project. His previous work includes this year's Oscar-short-listed 'From Ground Zero,' released in the US via Watermelon Pictures.
The clip shown at Cannes Docs, introduced via a video link by Gaza-based Khamis, revealed a moving portrait of Sama (10), filmed in her daily chores, which range from collecting plastic and cardboard to selling fuel. The film team in Cannes said it will be shot mostly without dialogue, partly out of respect to the main protagonist who decided not to talk.
The film's premiere is slated for September 2025.
'Wolf Game,' (Patricia El, Palestine, U.S., Spain)
Spain/U.S.-based filmmaker and visual artist Patricia El's work has played at numerous festivals, with her 2023 virtual reality doc 'Remember This Place' premiering at the Venice Biennale. 'Wolf Game' is produced through her own label, The Office for Public Therapy Politics.
Speaking to Variety, El said her intention with 'Wolf Game' is 'to show the infrastructures and flows of funds that enable the colonization of Palestinian land across the territory. We do this by showing three interweaving narratives: the story of a Palestinian shepherd boy who is the Main protagonist, a settler boy who becomes a shepherd in order to take over Palestinian land, and a crypto gamer who lives in Los Angeles and plays a crypto game called 'Wolf Game,' where players are encouraged to accumulate as much virtual land and sheep as possible, at the expense of other players in the game.'
Delivery of the film is set for June 2026.
Best of Variety
New Movies Out Now in Theaters: What to See This Week
Emmy Predictions: Talk/Scripted Variety Series - The Variety Categories Are Still a Mess; Netflix, Dropout, and 'Hot Ones' Stir Up Buzz
Oscars Predictions 2026: 'Sinners' Becomes Early Contender Ahead of Cannes Film Festival

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Miley Cyrus hid cost of drugs from accountant by disguising them as vintage clothing purchases
Miley Cyrus hid cost of drugs from accountant by disguising them as vintage clothing purchases

Yahoo

time4 hours ago

  • Yahoo

Miley Cyrus hid cost of drugs from accountant by disguising them as vintage clothing purchases

Miley Cyrus concealed the cost of drugs from her accountant during the making of her 2015 album by disguising them as high-end vintage clothing purchases. The 32-year-old singer and songwriter, whose battles with drink and drugs have been well-documented, made the admission during an appearance on the Every Single Album podcast. Speaking about the period surrounding her experimental album Miley Cyrus and Her Dead Petz, Miley said: 'We called (drug purchases) vintage clothes. And every time (my accountant) saw me, she'd be like, 'Where's that, like, $15,000 original John Lennon T-shirt that you bought?' 'It's like, 'Oh, it's upstairs.' So I bought a lot of vintage clothes that year.' The Grammy-winning artist went on to explain to avoid suspicion, she would tell her accountant the garments were 'really delicate' and needed to be stored away to 'protect' them. She added: 'I'm so glad I survived that time in my life. I would definitely not encourage anyone else to go this hard, but the fact that I got through it, I'm very glad I got to do it.' Miley, who rose to prominence as a Disney Channel star before launching a highly successful music career, has long been candid about her relationship with drugs. In a 2013 interview with Rolling Stone, she said: 'Hollywood is a coke town, but weed is so much better. And molly, too. Those are happy drugs – social drugs. They make you want to be with friends. You're out in the open. You're not in a bathroom.' In 2017, she revealed she had gotten sober after rekindling her relationship with then-partner Liam Hemsworth. She told Billboard magazine: 'I haven't smoked weed in three weeks, which is the longest I've ever (gone without it,) I'm not doing drugs, I'm not drinking, I'm completely clean right now!' But in November 2020, Miley acknowledged that she had relapsed during the COVID-19 pandemic. Speaking publicly at the time, she confirmed the setback but said she had resumed sobriety within two weeks. Miley has also recently been in the headlines over a rumoured rift with her country-rock singer father Billy Ray Cyrus, but other reports have said the two have quietly reconciled.

WWE Money In The Bank 2025 Livestream: Here's How to Watch the Event Online
WWE Money In The Bank 2025 Livestream: Here's How to Watch the Event Online

Yahoo

time4 hours ago

  • Yahoo

WWE Money In The Bank 2025 Livestream: Here's How to Watch the Event Online

Variety and Yahoo may earn commission from links in this article. Pricing and availability subject to change. If you purchase an independently reviewed product or service through a link on our website, Variety may receive an affiliate commission. The WWE goes 'The City of Champions' with Money In The Bank 2025. This year's pro wrestling event features four matchups — including a title bout for the women's international championship — on Saturday, June 7. Additionally, the event features a tag team match with influencers Logan Paul. Advertisement More from Variety For 2025 in the main event and co-main event, there are two separate headliner high-stakes ladder matches for men and women. On the men's side, six top male wrestlers battle each other for a contract to compete for the world championship. On the women's side, six premiere female wrestlers go at it for a contract for the women's world championship. watch WWE Money IN The Bank 2025 on peacock Want to watch WWE Money In The Bank online? Here's what you need to know. When Is WWE Money In The Bank 2025? Date, Time WWE Money In The Bank takes place at Intuit Dome in Inglewood, California on Saturday, June 7. The start time for WWE Money In The Bank is 7 p.m. ET/4 p.m. PT. WWE Money In The Bank 2025: Main Card Check out the Money In The Bank main card below, and stream it on Peacock here. Advertisement Main Card, 7 p.m. ET/4 p.m. PT Solo Sikoa vs. LA Knight vs. Penta vs. Seth Rollins vs. Andrade vs. El Grande Americano (in a ladder match) Alexa Bliss vs. Roxanne Perez vs. Rhea Ripley vs. Giulia vs. Naomi vs. Stephanie Vaquer (in a ladder match) Cody Rhodes and Jey Uso vs. John Cena and Logan Paul (in a tag team match) Lyra Valkyria (champion) vs. Becky Lynch (in a last chance match) — WWE Women's Intercontinental Championship Watch all the action by catching the livestream of WWE Money In The Bank online with Peacock. Purchase the livestream feed starting at $7.99/month for the ad-supported plan, or $79.99/year when you sign up for an annual subscription here. Additionally, you can go ad-free for $13.99/month, or $139.99/year for the annual plan. watch WWE Money IN The Bank 2025 on peacock Later in the week, tune into WWE Raw and WWE Smackdown after Money In The Bank. Best of Variety Sign up for Variety's Newsletter. For the latest news, follow us on Facebook, Twitter, and Instagram.

‘Something Beautiful with Miley Cyrus' Review: The Star Co-Directs an Album's Worth of Music Videos, Celebrating Her Sexuality…and Herself
‘Something Beautiful with Miley Cyrus' Review: The Star Co-Directs an Album's Worth of Music Videos, Celebrating Her Sexuality…and Herself

Yahoo

time4 hours ago

  • Yahoo

‘Something Beautiful with Miley Cyrus' Review: The Star Co-Directs an Album's Worth of Music Videos, Celebrating Her Sexuality…and Herself

It's the rare pop star who doesn't use his or her sexuality in some way. But the current moment, typified by stars like Chappell Roan, Sabrina Carpenter, and Charli XCX, tends to be about showcasing one's sexuality ironically, or with an acid flippancy, or from behind a mask, or with a certain cool stance of meta control. Miley Cyrus never got that memo. In 'Something Beautiful,' a 55-minute visual album made up of music videos, co-directed by Cyrus (with Jacob Bixenman and Brendan Walter), of the 13 tracks from her just-released album, Cyrus struts and pouts and lets it out, she throws her body around like a gymnastic weapon, and in a way she throws her beauty around, as though she were trying to sear the power of her erotic presence into our souls. More from Variety 'Titan: The OceanGate Disaster' Review: Netflix Doc Depicts High-End Deep Sea Exploration With a Lethal Price Tag 'Rosemead' Review: Lucy Liu's Revelatory Turn Is the Reason to See an Otherwise Downbeat Family Drama Michael Imperioli on Jack Kerouac, Buddhism and a Changing New York: 'I Still Love the City to Death' At the Tribeca Festival, where the 'Something Beautiful' visual album premiered tonight, the audience cheered every femme fatale glower, every showgirl flash of writhing flesh, every doffed piece of slinky punk designer clothing. It was clear that Cyrus staged the videos not merely as an orgy of rock-star self-love but as an homage to an era when the flaunting of sexuality was something that people felt less cautious about. She wants to take us back to the age of letting it rip. Miley Cyrus is pre-ironic, and so is her music, which is hooky in a heavily produced big-beat way that's starting to sound as from-another-era as Springsteen's. (To me, that's not an insult.) In the 'Something Beautiful' videos, you feel her trying to elevate her erotic maximalism into a kind of mythology. In 'Easy Lover,' she strips down to her underwear in a soundstage dressing room, then walks onto an empty Hollywood lot wearing light-blue ruffled chaps and a winged jacket, sauntering through that land of make-believe as if to say, 'What you're seeing is just…an image!' (Well, yes.) In 'Golden Burning Sun,' one of the catchier songs on the album, she's photographed in profile, wearing giant sunglasses as she rides a chopper against a stylized orange sky, singing, 'You're the only one, under the golden burning sun.' For all the independent spirit that defined 'Flowers,' and at a moment when Sabrina Carpenter's 'Manchild' is being touted as a potential iconic summer hit, Miley Cyrus's ardent anthems can sound as old-school devotional as something from the 1980s. And, in fact, there's an '80s nostalgia hanging over the entire visual album. It's very 'Flashdance' meets Lita Ford. There is much windblown hair, and the video for 'Walk of Fame' opens on a rhythm track highly reminiscent of Bronski Beat's 'Smalltown Boy,' as we see Miley, in a little silver dress, strutting in the middle of the night along the abandoned but highly lit-up-by-street-lights-and-store-windows Hollywood Boulevard. You keep expecting Mia Goth to show up with a knife, but Cyrus is the only one there, and does she ever work it, bending and writhing over those stars on the Walk of Fame. Here, as in several of the other videos, I kept feeling as if one of those cliché fashion photographers must be hovering off-camera, saying, 'Yes, that's it! Show me what you got!' And then we arrive at 'Every Girl You've Ever Loved,' which feels like the climax to the visual album. It's set in an empty warehouse loft, with light shooting through propeller fans (very Adrian Lyne), and with Miley, in her primal assertion of feminine power, joined by Naomi Campbell, the two of them obliterating the need for anyone else. (The only dude in these videos is someone who shows up in the last one, looking like a Calvin Klein model as shot by Kenneth Anger.) At the premiere, a journalist sitting next to me said, 'There's no narrative here at all.' Given that 'Something Beautiful' was presented as a Tribeca Festival event, I think what she was hoping to see was a visual album that tried for something along the lines of Beyoncé's 'Lemonade.' 'Something Beautiful' is very much not that. Yet if the videos, with their confectionary nod to the eros of celebrity, lack any semblance of a storytelling through line, I wouldn't say that means they have no narrative. They tell the story of Miley Cyrus's relationship to sexuality and stardom. As an adult pop star, she has always borne a striking resemblance to the Faye Dunaway of the early '70s, but she's like Faye Dunaway without the mystery. Yet in 'Something Beautiful,' with the songs used as catwalk tracks, you see how Miley Cyrus, in elevating her erotic aura, is trying to be a performer of mystery — to let her beauty singe our eyeballs, to let it vibrate into the cosmos. Yet it's all a little insular. The final song, the video of which plays over the end credits, is called 'Give Me Love,' and it feels like the whole film could have been called that. We're the audience for Miley Cyrus's sex-power rapture. But we're also the mirror she's looking into. Best of Variety The Best Albums of the Decade

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into the world of global news and events? Download our app today from your preferred app store and start exploring.
app-storeplay-store