Arab Cinema Center returns to Cannes 2025 with four-day programme
The Arab Cinema Centre (ACC), in partnership with the Marché du Film, is set to return to the Cannes Film Festival with a four-day programme running from May 15 to 18, 2025. Designed to spotlight the diversity of Arab cinema, the initiative will feature a series of industry panels, award ceremonies and discussions aimed at fostering meaningful dialogue within the global film community.
This year's edition will address critical themes shaping the audiovisual landscape across the Middle East and North Africa (MENA), including the rise of regional production hubs, funding challenges and international co-production opportunities. Industry professionals from across the Arab world and beyond—including filmmakers, producers and key decision-makers—are expected to participate.
Alaa Karkouti and Maher Diab, Co-Founders of the Arab Cinema Centre, said: 'This year's Cannes edition marks another year in which we inform, educate, and sing the praises of the pan-Arab cinema industry. We will be highlighting its depth and richness, while at the same time creating an agenda for what remains to be done at an industry level. As always, we'd like to thank Marché du Film for this ongoing collaboration and for the platform it provides to our corner of the world.
'This year, aside from annual events like the Critics Awards for Arab Films and the ceremony to name the Arab Cinema Personality of the Year, we have a bevy of panels lined up for those keen to learn about the Arab World's largest filmmaking hub: Egypt; we will also shine a timely spotlight on Palestinian cinema; and we will examine important new funding avenues for Arab films and the secrets for success when it comes to international co-productions. It's a lot to discuss, but there's no better place to do it than at the Cannes Marché.'
In addition to staple events like the Critics Awards for Arab Films and the Arab Cinema Personality of the Year ceremony, the ACC will host four curated panels. These include sessions examining Egypt's prominent role in Arab cinema, a spotlight on Palestinian filmmaking, insights into authentic Arab co-productions and a discussion on innovative equity financing models for Arab film projects.
The Arab Cinema Personality of the Year will be honoured in a private ceremony on May 15, while the Critics Awards, which launched in Cannes in 2017, will take place on May 17 at the Plage des Palmes, with more than 280 international film critics selecting the winners.
Notable figures participating this year include Egyptian actress Youssra, Royal Film Commission of Jordan's Mohannad Al Bakri, Orascom's Samih Sawiris, Hussein Fahmy, Mohamed Hefzy, Amr Mansi, Morad Mostafa and May Odeh, among many others.
Guillaume Esmiol, Executive Director of the Marché du Film, added: 'We are happy to welcome back Arab Cinema Centre at the Marché du Film. Their continued engagement and curated programming contribute to shining a light on the richness and complexity of Arab cinema, while helping structure conversations that matter across our industry. This long-standing collaboration underscores our commitment to fostering diverse perspectives and facilitating meaningful exchange across the global film community.'
The Marché du Film – Festival de Cannes opens its doors on May 13, 2025, with the film market running until May 21 and the festival concluding its activities on May 24.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Broadcast Pro
12 hours ago
- Broadcast Pro
Red Sea Fund 2025 invites submissions for fourth cycle
The deadline for submissions is August 21, 2024. The Red Sea Fund, an initiative of the Red Sea Film Foundation, has opened applications for its fourth 2025 cycle, inviting filmmakers from Saudi Arabia, the Arab world, Africa and Asia to apply for post-production grants. The deadline for submissions is August 21. This funding round is dedicated to projects that have completed filming and are entering the post-production stage, covering essential processes such as editing, colour grading, sound design, mixing and other technical elements required to finalise a film for festival screenings or distribution. Since its launch in 2021, the Red Sea Fund has backed more than 280 film projects, many of which have gone on to win critical acclaim and prestigious awards at major international festivals. Eligible projects must be feature-length fiction, documentary, or animation films with a minimum runtime of 60 minutes. The director must be of African, Asian or Arab nationality or origin, and applicants must submit a complete rough cut of the film, at least 60 minutes long, via a private online viewing link. Non-English dialogue must be subtitled in English. Applications must also include a range of mandatory materials, such as a logline, synopsis, chain of titles, final script or treatment, full budget breakdown, financial plan, post-production spending plan, project timelines, director/producer biographies, a mood board and a release and distribution strategy. Only complete online applications submitted according to the form's requirements will be reviewed. Applicants will be notified of the Red Sea Fund Committee's decision approximately ten weeks after the closing date. The committee's decision is final and will not be accompanied by feedback. Selected projects will receive an official letter outlining the amount of financial support and next steps. Successful applicants must confirm acceptance within the specified time and sign a post-production funding agreement within four weeks of acceptance.
The National
19 hours ago
- The National
Helipads, fortresses and celebrity-filled parties: Inside Cannes' most private retreat
I find myself surrounded by hundreds of diners, standing on their chairs, waving around their napkins, dancing along to the DJ's hip-hop mash-up, as he shouts, 'Do we have Dubai in the house?' Our table – and many others – erupt with yells and rounds of applause. I'm not surprised, because we could quite easily be at a weekend brunch in the emirate. But we're not, we're in the French Riviera. Well, to be precise, we're on Ile-Sainte-Marguerite, an island off the coast of Cannes, at a restaurant called La Guerite, beloved by celebrities and only accessible via boat from the glitzy mainland. I'm here with a group of media from across the Gulf visiting Le Grand Jardin, the only luxury residence on the island. The property is a sprawling historic estate dating back to the 13th century, when it was originally a monastery. It was also once owned by Louis IVX and the Dukes of Guise, but now it's under the helm of hospitality brand Ultima Collection, which is known for its ultra-luxury private residences. Le Grand Jardin, set in 1.4 hectares of botanical gardens, spans 14,000 square metres, with 12 bedrooms that are only available for full buyout from €175,000 ($204,000) per week. The estate – whose previous guests were a 'major tech mogul' and his family who arrived by helicopter, although no one will say names – also has an ancient fortress with a casino downstairs and a bedroom on the upper floor, as well as a pool and spa, where facial treatments are performed exclusively using Augustinus Bader products. It's the kind of place where no request is too big or small, and I feel like one of the guests in Below Deck. The chef will cook whatever meals you like, catering to any and all dietary requirements, and you can book whatever themed parties and activities you like. We enjoy a sweet, aromatic private perfume-making workshop by Fragonard, one of the oldest perfumeries in Grasse, as well as a morning yoga session by the pool that is positively dreamy. At dawn, some of our group watch the sun rise over the bay from a nearby spot on the shore. Others take the opportunity to explore the forested island, inhaling the intermingling scents of the native flora. I choose to sleep, since my bed in the master suite – on the first floor of the so-called Governor's House – is so unbelievably comfortable. Visiting Ile-Sainte-Marguerite While Le Grand Jardin is inaccessible to non-paying guests, anyone is allowed to visit the island. It's only a 10-minute speedboat ride from charming Cannes and aside from La Guerite and a second restaurant called L'Escale, each of which are open from April to October, on the island there's also the Royal Fort. This historic monument is notorious for its most famous prisoner, the Man in the Iron Mask, who, legend has it, may or may not have been Louis XIV's brother and been imprisoned in Le Grand Jardin's fortress – or so I'm told. The fort, once a jail, is now a public museum with a warren of rooms displaying old Roman artworks and many other ancient artefacts. You'll see the remnants of an old 17th-century chapel and the cell where the man who inspired Leonardo DiCaprio 's character (in 1998's Man in the Iron Mask) once lived for more than a decade. There's also a three-star hostel on site, the only other place to stay on the island besides Le Grand Jardin. The rest of the island is full of wild yet preserved nature, so don't forget your hiking boots. More than 150 hectares of state-owned forest are filled with looming pines and eucalyptus trees, including some that are hundreds of years old, forming a stunning, shaded, nature-filled escape, almost the antithesis of Cannes' club-lined shoreline. Discover the botanical path, the ornithological reserve and its aquariums. Take a dip in the beautiful blue-green bay, where speedboats and superyachts idle about during summer and, beneath the surface, snorkellers will find statues by British sculptor Jason deCaires Taylor in what's known as the Mediterranean's first underwater eco museum. A trip to Cannes A jaunt to Cannes for a shopping trip is a must. I see notable beach clubs dotted next to each other along the city's famed oceanfront promenade. I spot famous hotels, like Hotel Martinez, dubbed the Arc Deco king of the Croisette, well known for hosting some of the most glamorous red carpet premieres during the annual Cannes Film Festival. World-renowned brands have gorgeous boutiques paving the narrow, cobblestoned streets, including one of the most striking Dior storefronts I've seen. The scenery might be different, but once again, as the wealthy and well-dressed make their way down either side of the Croisette, where supercars also sidle along, I'm reminded of Dubai – and that feeling is compounded when I walk into a tiny street-side deli full of gourmet French delicacies and, on the counter, spot not one but two varieties of ' Dubai chocolate '. Cannes might have the cinematic prestige, storied architecture and centuries-old fortresses, but the modern energy – that familiar blend of extravagance, ambition and multicultural buzz – feels unmistakable. What sets Ile Sainte-Marguerite apart is its contrast. At Le Grand Jardin, we're close enough to the heart of Cannes to feel its pulse yet secluded enough to hear only the breeze making its way through the forest canopy, the birds flying overhead – and the odd thumping techno tune from a nearby yacht. It's a rare kind of luxury, not only defined by price tags and private chefs, but by space, silence and the ability to switch off. As our boat pulls away from the pier on our final day, I look back at the Royal Fort, towering over the bay from its cliffside location. I think about the Man in the Iron Mask, Louis XIV, the 'tech mogul', even the napkin-swinging celebrities at La Guerite – and how, for a brief moment, I too was part of this grand garden's story.
Sharjah 24
a day ago
- Sharjah 24
SBA lays groundwork for SAC 2026 with strategic visit to Japan
This trip is part of SBA's long-term strategy to build upon the reputation of Sharjah Animation Conference (SAC) in being a globally recognised platform that fosters year-round collaboration, knowledge transfer, and the growth of the animation industry across the MENA region . Since its inception in 2023, SAC has quickly grown into an important event in the MENA region's animation calendar. Far beyond an annual conference, SAC is part of SBA's broader vision to create a sustainable, year-round platform for creative exchange, offering both regional talent and international industry leaders a space for collaboration and development. This visit to Japan marks a key step in strengthening SAC's future, with a focus on knowledge transfer and forging partnerships that will enrich the creative ecosystem in Sharjah . Long-term cultural and creative exchanges During the trip, the delegation, comprising Khoula Al Mujaini, SAC Executive Director; Pietro Pinetti, Artistic Director of SBA; and Moza Al Rand, Head of Events at Sharjah Book Authority; held strategic meetings with some of Japan's most influential animation companies; including industry heavy-weights such as Nippon Animation, Oh Production and Toei Animation. Extending their outreach to the publishing sector, the delegation also engaged with leading Japanese manga and book publishers Kodansha and Shogakukan, as well as media conglomerates and entertainment groups, including Kadokawa Corporation and Bandai Namco . Importantly, the meetings laid the groundwork for collaboration in preparation for the SAC 2026, where industry professionals from around the world will gather to explore business and investment opportunities in the animation sector. The discussions also focused on developing new content that resonates with Arab audiences while preserving the cultural heritage and storytelling traditions of Japan. These potential collaborations aim to bring Japanese animation expertise to Sharjah, elevating the conference and creating long-term cultural and creative exchanges . Khoula Al Mujaini commented on the trip's significance, stating: 'This visit to Japan is a critical part of our long-term commitment to SAC. We are building something far beyond an event; our vision is to create a sustainable, vibrant ecosystem for animation in Sharjah and the wider Arab region. By connecting with global leaders in animation, technology, and education, we are bringing world-class expertise to Sharjah and ensuring that SAC continues to evolve as a platform for creative collaboration, cultural exchange, and knowledge transfer .' Discussions with creative tech leaders The delegation also met with AlphaCode, a leader in creative tech, to explore the integration of digital storytelling formats, gamification, and immersive media into SAC's future offerings. These innovations will allow SAC to expand its scope, offering audiences an interactive and evolving experience that blends traditional animation with cutting-edge technology . ' Sharjah's position as a strategic gateway for international creative industries has become increasingly evident in the past decade. With its strong infrastructure, cultural commitment, and growing influence in the MENA region, our emirate offers Japanese media and creative companies an ideal gateway for entering or expanding in the Arab world, and SAC forms a key component of this effort, positioning the city as a vital player in the global creative sector', Al Mujaini added . A significant aspect of the visit was also the exploration of educational partnerships, and the delegation engaged with Wacom, a global leader in digital drawing and animation tools, and a key sponsor of SAC's annual gathering. Discussing potential training programmes, workshops, and talent development initiatives; this potential collaborative expansion is designed to directly benefit Sharjah's young creatives, giving them access to world-class resources and expertise, while empowering them to contribute to the future of the global animation industry .
