Latest news with #ErigeSehiri
The National
24-05-2025
- Entertainment
- The National
Tunisian film Promised Sky takes an unflinching look at undocumented individuals
What makes a film French, Tunisian or any other nationality? That is one question occupying the mind of Erige Sehiri, director of Promised Sky, which has just been unveiled at Cannes Film Festival. 'When you come to Cannes, you also represent a country,' Sehiri tells The National, speaking on the Unifrance terrace just yards from the buzzy Croisette. 'It's not just about the director.' In this case, Promised Sky is being recognised as a Tunisian film, despite being a French-Tunisian co-production, with money from Qatar and support from the Doha Film Institute. 'I agree with that because it's a Tunisian story, shot in Tunisia,' Sehiri continues. 'It's mainly Tunisian technicians and I'm a Tunisian director also. Marie, the film's central character, is played by a French actress, Tunisian people are secondary characters and West Africans are main characters. But they all represent Tunisia!' Sehiri herself was born and raised in France, after her Tunisian parents emigrated there. The migrant experience is very much at the core of Promised Sky, a heartfelt, honest look at the undocumented. The story takes place in Tunis, following Marie (Aissa Maiga), an Ivorian pastor whose dilapidated home has become a shelter for others. Among them are young mother Naney (Debora Christelle Lobe Naney) and the resolute student Jolie (Laetitia Ky). A former journalist, who brought a similar semi-documentary approach to her well-received 2021 film Under The Fig Trees, Sehiri says her own media connections led to the story. 'I had coffee with a journalist from Ivory Coast who was based in Tunis, and she worked at a small radio station. I didn't have the idea of the film then. But we talked, and I said: 'How do you make a living working in a radio station in Tunisia?' And she said: 'I have another job, as a pastor.' "I didn't even know it's a job. I didn't even know a woman can be a pastor. No Tunisian goes to Evangelical churches, they're not allowed.' Co-writing with Anna Ciennik and Malika Cecile Louati, Sehiri was particularly inspired by the notion of "the other". 'In Tunisia, the communities of people coming from sub-Saharan countries, from North Africa, are called 'the Africans'.' Indeed, Marie's landlord refers to her 'African cake' when she's baking, only to be told that he too is African. 'It's not necessarily a bad intention, but it's something we say all the time, to say 'the other'. But we are the other," says Sehiri. Sehiri began to think of the way fear surrounds stories of immigrants. 'We hear that France will be invaded by African, Arabian immigrants and so on,' she says, pointing out that the statistics say otherwise. 'Twenty per cent of immigrants from Africa migrate to Europe. Eighty per cent of them migrate within Africa from one country to another, and that also gives you another perspective. This is far away from the image that we get in Europe. It's a global issue, how to treat migrants and how not to treat them.' Bringing the film to Cannes, where it was selected to open the Un Certain Regard sidebar, a strand that features films directed by Hollywood stars Kristen Stewart and Scarlett Johansson this year, was also a huge honour. 'I feel that is the best thing that happened to the film,' Sehiri says. 'It was unexpected.' It also puts her in good company, with fellow Tunisian directors Kaouther Ben Hania (who was in Cannes with Four Daughters) and Meryam Joobeur (whose film Who Do I Belong To played at the Berlinale). Certainly, it's been a phenomenal time for female filmmakers from her country. 'I am part of the movement. I'm very happy seeing the reaction of the Arab media, which is not just about Tunisia but the whole region, how we portray ourselves, how we make films," Sehiri says. "It's really moving because I was born in France. I grew up there, and then suddenly I'm part of a movement from the Arab region.' A fan of such naturalistic-leaning directors as Ken Loach, Andrea Arnold and Sean Baker, the Oscar-winning director of Anora, Sehiri is now plotting her next move. 'I have another project that I haven't talked about at all. I really hope to do a triptych after Under the Fig Trees and Promised Sky. I would love to have a third film of people I found being stereotyped or invisible. And I'll say it will be young male Arab characters," she says. As for Promised Sky, how does she anticipate the reaction from those back home? 'Hopefully, it will open their eyes a bit,' she smiles. 'Just a bit.' The Cannes Film Festival runs until Saturday
Yahoo
16-05-2025
- Entertainment
- Yahoo
Tallinn Festival Hosts Baltic Goes to Cannes Showcase
A partner for the fifth time to the Marché du Film's Goes to Cannes Estonia's Tallinn Black Nights Film Festival – the Baltics' biggest film event – has dedicated a curated program to films from the region for the first time. The five projects, among the current best from Estonia, Latvia and Lithuania, will be pitched on May 16 in Cannes. All are in post and looking for co-financing, sales and festival exposure. More from Variety Creative Gate Opens Estonian Biz to the World Cannes' Focus COPRO Unveils Its Magnificent Seven: A 'Key Opportunity to Discover Talented Filmmakers' 'Promised Sky' Review: Erige Sehiri Delivers a Keenly Observed Migrant Drama With a Documentarian's Aesthetic The Baltics are on a roll, flying high on Latvia's first ever Oscar win with 'Flow,' so why not build on that momentum and flag what's next from the region, argues Black Nights Festival's Triin Tramberg, curator of the program. 'As Baltic [co-nationals] we couldn't be happier of the success of Gints Zilbalodis' 'Flow,' she stated. 'We took seriously what [host] Conan O'Brien said at the Oscars – the ball is in our court, but we are generously giving the spotlight to all the Baltics.' She adds that, 'I believe the five selected projects show the variety of quality we have, and am sure there is something for every taste.' Indeed, the Tallinn Fest Goes to Cannes slate covers all genres, from Estonian dark comedy 'O'Slaughter Day,' experimental 'Mo Amor,' Lithuanian dramas 'Oblivion'and 'They Call Me Danka,' to Latvia's crime 'Red Code Blue.' Each titles stems from strong voices ready to light the international festival and arthouse circuits. 'Promoting the Baltics as a region is key to us,' says Tiina Lokk, head of the Tallinn Black Nights Fest, the only A-class film festival in Northern Europe. In 2024, it attracted more than1,700 guests and journalists from 70 countries. The next edition runs Nov. 7-23. 'O'Slaughter Day,' (Seatapp), EstoniaDirector: Ove MustingAfter his acclaimed feature debut 'Kalev' (Estonia's 2022 Oscar entry) and hit series 'Traitor' ('Reetur') which just scooped best series, director and actress at Estonia's national film and TV awards, Musting has set his upcoming tragicomedy in rural southern Estonia. Jaan Laugamõts produces for Downtown Pictures. 'Oblivion,' (Užmarštis), LithuaniaDirector: Danielus MinkeviciusMinkevicius earned international recognition with his shorts 'Crucifixion' (Palm Springs ShortFest 2020) and 'Dance' (Camerimage 2021). His debut pic, co-penned by Kornelijus Stučkusis, is a psychological drama about a young sex worker who tracks her estranged father and enters his life under a false identity. Ieva Norviliene ('Vanishing Waves') produces for Tremora. 'Mo Amor,' EstoniaDirector: Eeva MägiThe pic is Mägi's third instalment in her trilogy, about 'the human need for love and understanding from different perspectives. After the mother-daughter angle in 'Mo Mamma,' winner of a Special Mention at Tallinn's 2023 First Feature competition, and father-son turn in 'Mo Papa,' pitched at last year's Black Nights Goes to Cannes, 'Mo Amor' explores how to love oneself and others. Mägi and Sten-Johan Lill produce for Kinosaurus Film. 'They Call Me Danka,' (Danka), LithuaniaDirector: Dovile Gasiunaite A raw coming-of-age second pic by Gasiunaite about a teen girl who struggles as the only 'adult' in her family. Artūras Dvinelis produces for Filmai LT, with associate producer Juliana Miliut. 'Red Code Blue,' (Tumšzilais Evaņģēlijs), LatviaDirector: Oskars RupenheitsSegueing from Rupenheits's hit debut 'The Foundation of Criminal Excellence,' the crime pic, set in post-Soviet Latvia's 1990s, turns on a young private eye who learns the hard way that the road to hell is paved with good intentions. Sintija Andersone, Oskars Rupenheits, Juris Pīlēns produce for Kef Studio. 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
Yahoo
16-05-2025
- Entertainment
- Yahoo
Creative Gate Opens Estonian Biz to the World
For international professionals curious about who's who in the vibrant Estonian film industry, the Tallinn Black Nights Film Festival and its industry sidebar have launched a unique AI-powered tool: Creative Gate. The platform brings the names of more than 200 Estonian professionals and companies-financiers, producers, public bodies, casting agencies, crew and more to users' fingertips More from Variety Cannes' Focus COPRO Unveils Its Magnificent Seven: A 'Key Opportunity to Discover Talented Filmmakers' 'Promised Sky' Review: Erige Sehiri Delivers a Keenly Observed Migrant Drama With a Documentarian's Aesthetic Oliver Laxe Sees 'Sirat' as Accessible Art With a Tribal Beat The free-of-charge service, is aimed at facilitating co-production and filming opportunities in the smallest Baltic state, which housed shoots of Christopher Nolan's 'Tenet,' Paramount+/Showtime's series 'The Agency' and Sundance feature 'Bubble & Squeak.' Project manager Egle Loor says the brain behind the on-line platform is Tallinn Black Nights Film Festival honcho Tiina Lokk who thought about new ways to re-boost Estonia's film industry post-COVID. So far, the service offers information exclusively on Estonia, but it is poised to expand across the entire Baltic region and hopefully the Nordics. 'We have invented Creative Gate, so why limit ourselves,'says Loor who feels the tool could further strengthen the natural cooperation between the Baltics and the Nordics. To evaluate Creative Gate's appeal to other partners, including potential co-financiers, a team from the Festival has attended a startup incubation program at the Baltics' largest science park, Tehnopol, in eastern Estonia. 'We're fine-tuning our product to boost its efficiency, sustainability and creativity, and in Cannes, we will present it to international professionals,' said Loor. 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
Arab News
15-05-2025
- Entertainment
- Arab News
Saudi-backed ‘Promised Sky' premieres in Cannes' Un Certain Regard section
DUBAI: Saudi Arabia's Red Sea Fund-backed feature 'Promised Sky' premiered at the 78th Cannes Film Festival as part of the Un Certain Regard section on the event's second day. For the latest updates, follow us on Instagram @ Directed by Erige Sehiri, the film is among the latest international projects supported by the Red Sea Film Foundation, which champions emerging filmmakers. The premiere was attended by Sehiri and lead cast members Deborah Naney, Aissa Maiga and Laetitia Ky, who gathered for the film's official screening and red carpet appearance. 'Promised Sky' follows the fate of three women, a pastor, a student and an exiled mother, whose delicate cohabitation shifts when they take in little four-year-old Kenza, rescued from a shipwreck.
Broadcast Pro
13-05-2025
- Entertainment
- Broadcast Pro
Red Sea Film Foundation brings four supported films to 78th Cannes
Tunisian film 'Promised Sky', supported by Red Sea Film Foundation, has been selected to open this year's Un Certain Regard section at the 78th Festival de Cannes. The Red Sea Film Foundation has announced its official participation in the 78th Cannes Film Festival, with four films backed by the Red Sea Fund, Red Sea Souk and Red Sea Labs featured in this year's lineup. The foundation's presence underscores its ongoing commitment to supporting and promoting cinema from Arab, Asian and African regions on the global stage. Among the highlights is Promised Sky, the latest feature by Tunisian filmmaker Erige Sehiri, which has been selected to open the Un Certain Regard section. Set in Tunisia and inspired by real events, the film explores the intertwining lives of three women—Marie, an Ivorian pastor and former journalist; Naney, a young mother in search of hope; and Jolie, a student grappling with family pressure. Their delicate bond is put to the test when a young orphan enters their lives, revealing the strength and fragility of solidarity in a society fraught with uncertainty. Egyptian director Morad Mostafa makes his Cannes debut with Aisha Can't Fly Away, which will also compete in Un Certain Regard. The film paints a raw portrait of life on the fringes of Cairo through the story of Aisha, a young Sudanese caretaker living in the impoverished Ain Shams district. Faced with growing danger, she turns to Zuka, a local gang leader, for protection, navigating a world shaped by desperation and survival. Japanese filmmaker Momoko Seto's Dandelion's Odyssey offers a stark contrast in genre and tone. The film follows four plant-like friends—Dendelion, Baraban, Léonto and Taraxa—who survive Earth's destruction by nuclear catastrophe and embark on a cosmic journey in search of a new home. Blending science fiction and environmental themes, the film is a poetic reflection on survival, identity, and belonging. Completing the lineup is Life After Siham, a deeply personal documentary by Egyptian director Namir Abdel-Messeeh. In the aftermath of his mother's passing, Abdel-Messeeh uses filmmaking as a way to preserve her memory and navigate his grief. The film documents his emotional journey, including his complex relationship with his father, ultimately transforming a personal loss into a profound meditation on love, memory, and the healing power of cinema. In addition to the screenings, the Red Sea Film Foundation will host activities at the Saudi Pavilion at the Marché du Film, including a 'Meet the Red Sea Team' panel on May 16.
