Latest news with #ThePresident'sCake
The Hindu
24-06-2025
- Entertainment
- The Hindu
Are Film Festivals Rewarding Art or Obedience?
Published : Jun 24, 2025 13:42 IST - 7 MINS READ In the polarised world of today, cinema is no longer just about art or entertainment. It has become a potent tool for ideological messaging and image-building by those in power, and for the dissemination of global political narratives. The Iraqi film The President's Cake and the honour it received at the Cannes Film Festival 2025 make this clear: the relationship between cinema and politics is now more intricate and strategic than ever before. The film tells the story of a 9-year-old girl, Lamia, who is assigned the task of baking a cake for Saddam Hussein's birthday. Through this simple story, director Hassan Hadi not only exposes the harshness of life under a dictatorial regime but also reflects on how a society ends up bowing before authority. This raises an important question: is the international acclaim received by this film purely a result of its artistic merit, or is it part of a larger, calculated political strategy led by the West? To answer that, we must understand Iraq's history, especially during the rule of Saddam Hussein—a longstanding target of the West. The US attacked Iraq twice: first in 1991 during the Gulf War, and then again in 2003. While these invasions were framed as missions to establish democracy, they led to the deaths of millions and plunged Iraq into decades of instability and chaos. So, when a film portrays Saddam as a 'villain' and gets honoured on a prestigious platform like Cannes, it is natural to ask about its intent. But while the film starkly portrays the brutality of dictatorship, it also lays bare the fear and suffocation endured by a nation. Hadi made the film in 2023, a time when Iraq was still recovering from the chaos of war. Yet the question lingers: did the film gain such recognition solely for its artistic merits, or is there a deeper political strategy at play here? It's a question worth exploring in detail. Also Read | Jafar Panahi returns, but not to reconcile with power The President's Cake is not an isolated case. One need not look far back—the Russia-Ukraine war that began in 2022 also dragged cinema into the arena of global political conflict. The Ukrainian documentary20 Days in Mariupol (2023) was championed by the Western media and major international festivals as a powerful act of resistance—a cinematic protest against Russia. This overwhelming support brought it global recognition. Conversely, Russian films have been blacklisted from the world's most prestigious cinematic forums. Doctor Lisa (2023), though critically acclaimed in Russia, was ignored by festivals like Cannes, Venice, and Toronto. Interestingly, even older Russian films that had once been celebrated in the West, like Leviathan (2014), are now being viewed through a lens of suspicion. Despite criticising the Russian state, Russian directors like Andrey Zvyagintsev (Leviathan, Loveless), Kirill Serebrennikov (Leto, Tchaikovsky's Wife), Kantemir Balagov (Beanpole), or Aleksei Fedorchenko (Silent Souls) have been sidelined by the world movie-watching community in the polarised post-war environment. Zvyagintsev, once a regular at Cannes and the Oscars, has fallen silent. Serebrennikov faced legal cases in Russia, and when he did attend Cannes, some Western critics labelled him as the 'soft face of Russian culture during wartime'. Balagov moved to the US, but even there, his national identity stood as a barrier. War not only exiled these filmmakers politically but also pushed them into oblivion. Past precedents Paradise Now (2005), a film in Arabic and Palestinian languages, tells the story of two young men preparing for a suicide bombing. While Cannes honoured it, the Oscars chose not to nominate it, saying that its approach to terrorism was 'understanding' rather than one of outright condemnation, which is what the American stance was. Similarly, Waltz with Bashir (2008), an Israeli animated documentary about the Lebanon War, was at Cannes and other European festivals, but was kept out of mainstream recognition at awards like the Oscars and the Golden Globes. Its narrative went against the preferred Western framing of Israel as acting in 'self-defence' in declaring war. French cinema France, often hailed as the bastion of cinematic freedom, is not immune to hidden political pressures. Michael Haneke's Caché (Hidden) (2005), which exposed France's colonial past, was lauded by critics but ignored by American awards. Bertrand Tavernier's 1992 documentary La Guerre sans Nom, which unflinchingly depicted the horrors of the Algerian War, was also kept away from mainstream spotlight. Italian Neorealism In the aftermath of the Second World War, 1940s' Italy gave birth to a cinematic movement that brought the big screen closer to real life by showing the dust of alleyways, the fatigue of workers, the empty pockets of children. This was neorealistic cinema, which had no heroes or villains, only life. Abandoning studio gloss, these films were shot on real streets, with real people. Their rawness created a cinematic echo that could not be ignored—or so one hoped. The films were sidelined. The Bicycle Thieves and Rome, Open City may have won audiences' hearts, but at Cannes, Berlin, and the Oscars, their presence remained marginal. These films revealed realities the powerful preferred not to see. Vittorio De Sica's The Bicycle Thieves (1948) received multiple international awards, including Best Film at the BAFTAs and the Volpi Cup, but as Italian cinema began critiquing fascism, capitalism, and social inequality, it was relegated to 'arthouse' or 'foreign language' categories. Pier Paolo Pasolini's The 120 Days of Sodom (1975) was banned and labelled obscene—not because of its form, but because it posed a threat to entrenched power structures. It was sidelined not only in Italy but also across many Western platforms. African cinema African cinema has fearlessly portrayed racism, colonialism, and the brutality of power. Yet it has been consistently sidelined on prestigious international platforms. Ousmane Sembène's Black Girl (1966) exposed colonial and racial exploitation. While it was appreciated at smaller European and American festivals, it was largely ignored by the major awards. Abderrahmane Sissako's Timbuktu (2014) addressed Western terrorism and Islamic extremism. It received an Oscar nomination for Best Foreign Language Film but many other African cinematic milestones—like Cairo Station (1958) and Yeelen (1987)—were excluded from global recognition. Once again, the deciding factor was the political lens—only narratives aligned with Western interests were amplified. Also Read | The Uniform Cinema Code Back home in India, a new kind of cinema is emerging where the hero is declared, the villain predefined, and the story flows around the corridors of power. The Tricolor flutters, the national anthem echoes, and the camera cuts straight to the heart of the masses. These are the propaganda movies that uphold the narratives of faux patriotism, pride, or valour that are peddled by the present regime to the people. One of them, The Kashmir Files, was hailed as 'essential cinema' in political circles and quickly made tax-free. These films do not just tell stories, they set moods—moods where questions are unwelcome, and pride is non-negotiable. The movies that do not fit into this narrative are either labelled controversial before release, or quietly buried in obscure OTT corners. While films like The President's Cake and The Kashmir Files may have hidden agendas, there is a crucial difference between the two. In India, the state often sits behind the camera—director, producer, and financier rolled into one. Artists who question the films are labelled as anti-national, agenda-driven, and dismissed. In contrast, as discussed earlier, The President's Cake also problematises the narrative subtly by showing the devastations of war. Today, every film opens with the disclaimer 'This is a work of fiction'. The question is—is it just fiction, or the curated truth? Cinema is no longer just about storytelling—it is scripting an official history. And in that history, only those who fit the ruling script get screen time. Zeb Akhtar, a former research scholar with the Ministry of Culture and Makhanlal Chaturvedi National University of Journalism, is presently working on a research project exploring the hidden agendas behind global film awards and festivals.
Broadcast Pro
01-06-2025
- Entertainment
- Broadcast Pro
Sony Pictures Classics acquires rights to Iraqi film ‘The President's Cake'
The film is made in association with Missing Piece Films, Working Barn Productions, Maiden Voyage Pictures and Spark Features. Sony Pictures Classics has acquired all rights in North America, Latin America, Eastern Europe, Southeast Asia and India for Cannes Caméra d'Or winner The President's Cake by Iraqi director Hasan Hadi. Iraqi director Hasan Hadi has won the People's Choice audience award at the second edition of the Cannes Directors' Fortnight for his debut feature The President's Cake. The award, the only audience-voted prize among the Cannes Official Selection and its parallel sections, marks a major international recognition for Hadi and a powerful moment for Iraqi cinema. Based in New York, Hadi drew from his own childhood experiences growing up in southern Iraq during the 1990s, under the regime of Saddam Hussein and the harsh conditions imposed by international sanctions. His film tells the story of Lamia, a nine-year-old girl tasked with bringing a birthday cake to school to celebrate the president's birthday—a seemingly simple mission that becomes a daunting struggle for survival in a time of extreme scarcity. The consequences of failure could be devastating for her and her family. Produced by Leah Chen Baker under the New York-based banner TPC Film LLC, The President's Cake is being sold internationally by Films Boutique, while UTA is handling distribution in North America. The Directors' Fortnight, a parallel section of the Cannes Film Festival known for its focus on bold and independent filmmaking, does not use a traditional jury system. Instead, the People's Choice award, which includes a €7,500 ($8,400) cash prize, is determined entirely by audience votes. The award was established last year in partnership with the Chantal Akerman Foundation to honor the legacy of the late Belgian filmmaker, whose groundbreaking works such as Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles were closely tied to the spirit of the Fortnight.
Yahoo
28-05-2025
- Business
- Yahoo
Sony Pictures Classics Takes North America & Multiple Territories For Cannes Caméra D'Or Winner ‘The President's Cake'
Sony Pictures Classics has acquired all rights in North America, Latin America, Eastern Europe, Southeast Asia and India for Cannes Caméra d'Or winner The President's Cake by Iraqi director Hasan Hadi. The film, which debuted in Directors' Fortnight, also proved a crowdpleaser in the Cannes parallel section, winning its People's Choice audience award. More from Deadline Janus Films Acquires Bi Gan's Cannes Prize-winner 'Resurrection' For North America Sergei Loznitsa's 'Two Prosecutors' Scores Fresh Deals For Coproduction Office - Cannes Netflix Buys Richard Linklater's 'Breathless' Homage & Love Letter To Cinema 'Nouvelle Vague' In Record Domestic Deal For A French-Language Movie Deadline critic Pete Hammond also fell for the film describing it as a 'a true gem and a real discovery'. Check out his review here. New York-based Hadi has tapped into his own childhood in southern Iraq in the 1990s, growing up under the regime of President Saddam Hussein and the socio-economic crisis provoked by international sanctions, for the film. The drama follows nine-year-old Lamia who gets the short straw of having to provide a birthday cake for her classmates to celebrate the president's birthday. Gathering the ingredients for the mandatory cake at a time of shortages is a monumental task but failure to deliver could lead to prison or death for her family. The movie is produced by Leah Chen Baker with executive producers including award-winning screenwriter Eric Roth (Forrest Gump) and director Marielle Heller (Nightbitch, Beautiful Day In The Neighborhood). The film is made in association with Missing Piece Films, Working Barn Productions, Maiden Voyage Pictures and Spark Features. 'Winning the Caméra d'Or in a year with so many formidable directorial debuts and winning the Audience Award in the Directors' Fortnight, Hasan Hadi's The President's Cake is the surprise hit of this year's festival. In the tradition of major Cannes discoveries, these ovations and critical acclaim mark the beginning of a fresh voice destined to thrill audiences everywhere,' said Sony Pictures Classics. 'Since childhood, Sony Pictures Classics has been the go-to name for quality cinema and original storytelling. It's a dream come true—and a true honor—to now be part of that legacy. Their incredible history of championing international films and commitment to theatrical releases makes them the perfect home for The President's Cake,' added Hadi. The film was negotiated between UTA Independent Film Group, WME Independent and Sony Pictures Classics. Films Boutique represents international sales. Hadi is repped by UTA and Jonathan Gardner. The Sundance Film Institute and Doha Film Institute are among the many supporters of the film. Best of Deadline 'Hacks' Season 4 Release Schedule: When Do New Episodes Come Out? Everything We Know About 'Hacks' Season 4 So Far 'The Last Of Us': Differences Between HBO Series & Video Game Across Seasons 1 And 2
CairoScene
25-05-2025
- Entertainment
- CairoScene
Review: The President's Cake Is Cannes' Hidden Gem
Review: The President's Cake Is Cannes' Hidden Gem The film everyone should be talking about, but no one is for some reason, is Hasan Hadi's The President's Cake. A crowd-pleaser that brings to mind such classics as Majid Majidi's Children of Heaven, Abbas Kiarostami's Where is the Friend's House, and Theo Angelopoulos' Landscape in the Mist. It's 'draw day' across Iraq. In classrooms across the country, students are randomly selected to contribute to their school's mandatory celebration of Saddam Hussein's birthday. It's framed as an honour, but everyone knows the truth. Refusing could mean imprisonment or even death. Each school must bake one cake. Nine-year-old Lamia (Baneen Ahmad Nayyef) does everything she can to avoid being picked. But when the teacher pulls her name from the tin, she has no choice. She must bake that cake or face the repercussions. There's just one problem. The country is starving and sanctions have wiped markets clean. Flour, sugar, eggs, baking powder are nearly impossible to find. Across chaotic markets and guarded checkpoints, Lamia hunts for what little remains. The ingredients now are worth more than gold. Two days before the national celebration, Lamia is joined by her neighbour, Saeed (Sajad Mohamad Qasem). Together, they hitch a ride to a nearby city in search for the supplies. Their first lift comes from a seemingly kind mailman (Rahim Al Haj). They manage to find some eggs. However, it's not all smooth sailing. At a bakery, Lamia nearly gets caught trying to steal flour. Along the way, they meet a string of adults who take advantage of their innocence. In one of the film's most heart-breaking moments, Lamia sells her family's watch only to realise that the money is fake. While The President's Cake unfolds with the charm and simplicity of a modern-day fairy tale, it never loses sight of the quiet horrors that lie beneath. This is a story about a generation stripped of its childhood. Play is replaced by fear, and joy is rationed like food. It's set in a country scarred by war, crippled by sanctions, and held together by the fragile thread of blind obedience. What holds the people together is a quiet, enduring love. It's a love that flows between neighbours and clings to people who have nothing left but one another. By the end, Lamia sacrifices far more than time or effort. She loses the comforting illusions of childhood. What she gains is a painful awareness. That survival often comes at the cost of innocence. That even a child can be made to carry the weight of a corrupt system. This is the story of a young girl who, upon learning how the world truly works, is forced to grow up far too soon. Like the cake at the heart of the story, the film builds itself layer by layer. When the final layer is set, what's left is not just a coming-of-age tale. It's a haunting elegy for all the children who are forced to trade wonder for wisdom far too soon. The President's Cake is the hidden gem of the festival. It just might be the strongest film from the region to premiere this year at Cannes.
Iraqi News
25-05-2025
- Entertainment
- Iraqi News
Hasan Hadi becomes first Iraqi to win Cannes Best Feature Debut
Cannes – Hasan Hadi, the first filmmaker from Iraq to be selected for the prestigious Cannes Festival, on Saturday won a top prize for his childhood adventure under economic sanctions in 'The President's Cake'. His first feature-length film follows nine-year-old Lamia after her school teacher picks her to bake the class a cake for President Saddam Hussein's birthday or risk being denounced for disloyalty. It is the early 1990s, the country is under crippling UN sanctions, and she and her grandmother can barely afford to eat. The pair set off from their home in the marshlands into town to try to track down the unaffordable ingredients. Hadi dedicated his Camera d'Or award, which honours first-time directors, to 'every kid or child around the world who somehow finds love, friendship and joy amid war, sanctions and dictatorship. 'You are the real heroes,' he said. He later shared the stage with dissident Iranian filmmaker Jafar Panahi, who won the festival's Palme D'Or top prize for his 'It Was Just an Accident', the tale of five ordinary Iranians confronting a man they believed tortured them in jail. 'The President's Cake' has received excellent reviews since premiering last week in the Directors' Fortnight section. Cinema bible Variety called it a 'tragicomic gem'. Deadline said it was 'head and shoulders above' some of the films in the running for the festival's Palme d'Or top prize, and 'could turn out to be Iraq's first nominee for an Oscar'. – Palestinian films – Also from the Middle East, Palestinian director Tawfeek Barhom received his award for his short film 'I'm Glad You're Dead Now'. After giving thanks, he took the opportunity to mention the war in Gaza. 'In 20 years from now when we are visiting the Gaza Strip, try not to think about the dead and have a nice trip,' he said. US President Donald Trump sparked controversy this year by saying he wanted to turn the war-ravaged Palestinian territory into the 'Riviera of the Middle East'. Outside the main competition, Gazan twin brothers Arab and Tarzan Nasser on Friday received a directing award in the Certain Regard parallel section for 'Once Upon A Time In Gaza'. One of them dedicated the award to Palestinians, especially those living in their homeland of Gaza, which they left in 2012. He said that, when they hesitated to return to Cannes to receive the prize, his mother had encouraged him to go and tell the world about the suffering of people in Gaza. 'She said, 'No, no, no, you have to go. Tell them to stop the genocide',' he said. Amnesty International last month said Israel was carrying out a 'live-streamed genocide' against Palestinians in Gaza, claims Israel dismissed as 'blatant lies'.
