Once you get on the mat, the judging begins! One day, eight people are suddenly called to the mat. They have nothing in common. They are given an unidentified mission to confess their sins if they want to get out alive. On the mat full of confusion, screams, and disbelief, the players must do their best to survive. After accusing them of a crime, the game gets more and more extreme…

Rinka (Tao Tsuchiya) works as a wedding planner and is having trouble finding a good guy. Her workmate suggests using a dating app. Feeling defeated, Rinka decides to give it a try and matches with a guy named Tomu (Daisuke Sakuma). However, when they meet he looks nothing like his picture on the app. Although he seems normal, she has a bad feeling about him. A series of murders occur, and it's discovered that each of the victims used that machine app. The man that Rinka met gets put under investigation in relation to the murders.

On the occasion of Roxana screening at Red Sea International Film Festival, director Yasna Mirtahmasb and protagonist Parviz Shahbazi talk about the inspiration behind the movie, working with no script, humor in drama, the casting, working in Iran nowadays, and other topics.

Winner of Best Feature Film in last years Red Sea International Film Festival and one of the 20 Best West-Central Asian Films of 2022 in our list in Asian Movie Pulse, “Hanging Gardens” continues its effort to be included in the nominations for the Academy Award for Best International Feature Film, as Iraq's official selection.

As Panos Kotzathanasis wrote about the film last year, Ahmed Yassin Al Daradji creates a film that retains an excellent balance between a coming-of-age movie and a commentary about life in present Iraq, all the while entertaining his audience through both humor and drama. Evidently, the concept of the two young ‘pimps' of a sex doll is what sets the story apart through its uniqueness, but this is just the top of the iceberg of a rather layered narrative that “hides” many of its comments inside its details.

At the same time, Al Daradji has been touring the Asian markets looking for support for his latest project, “Madness and Honey Days, which recently won the MBC Academy/Shahid Award for an Arab project in development or post-production, from Red Sea Souk.

Synopsis

After offending President Saddam Hussein on the stage, 27-year-old theatre director Salem manages to escape death and the punishment of tongue-cutting by convincing the Ba'athist court of his insanity. Embracing madness, Salem spends months exiled inside a Psychiatric hospital, while the execution is lurking outside if the physicians announce him
mentally fit.

While in the hospital, Adyan, a 25-year-old doctor, becomes emotionally drawn to Salem's talent and skills, leading to a surreal love affair between the mad patient and his doctor. Soon, Salem attempts to escape from the hospital but fails. During this time, Adyan uncovers the truth behind his act of insanity. The authorities learn of Salem's escape and try to apprehend and return him to prison. But Adyan saves him, confirming that her patient needs treatment and keeping the learned truth. Salem, trying to maintain his sanity, starts writing a play inspired by Hamlet with the hospital residents as its heroes. Using Shakespearian style, he gathers actors and assigns roles to them.

The play is successfully performed, despite Adyan's manager's ban, and reaches the ears of President Saddam through the Iraqi media coverage of the historical event. The President sends a written recommendation, and the regime starts to take care of the patients. Salem receives a certificate of appreciation – the Presidential acknowledgement of his madness, the document that spares him from the gallows.

Director's Statement

Reality is a fantasy with no validity inside a mental hospital. Therefore, the characters in this film may be beyond imagination, which gives them a great degree of realism.

The surreal scene in which I grew up in Baghdad made me hate playing the role of a victim in this life. I decided to rebel, and now, I play the role of a madman, seeking more modern ways to understand what was happening then and what is happening worldwide today.

Fortunately, I lived 15 minutes from the only psychiatric hospital in Iraq located in Al-Amal neighbourhood. On my way to school and returning home, I used to pass by the hospital building adorned by a giant mural of President Saddam Hussein, to which my older brother Taha used to bow every time believing that the President was a prophet sent by God. n 2003, when Saddam Hussein's regime collapsed, the hospital was subjected to theft and vandalism during the terrifying occupation of American tanks. The hospital residents, men and women, leaked into the streets. The neighbourhood looked like a scene from the Judgment Day, where humans are sent naked to their Creator according to the Islamic tradition.

Led by an old man, we decided to launch a campaign to collect them, clean them, and feed them. After many attempts filled with death, we managed to convince the Americans to return those who were with us to the hospital under our care. I will never forget my mother's tears mixed with madness as she prepared their food.

Living next to the hospital during that period was enough to convince me that there are no valid facts in this world, and if there are, they are either accepted or rejected, but not reasonable. This experience led me to explore the problems of the historical and cultural confrontation of the society isolated from the world for 35 years due to the policies of war and dictatorship governed by tribal and religious customs. My goal in this film is to put the audience face to face with the story of people at the highest level of consciousness on whom my characters rely and to what happened in life realistically.

In “Madness and Honey Days”, I try to present a visual feast full of human characters from the perspective of the people of the Al-Amal Psychiatric Hospital in Baghdad in an attempt to rediscover and understand the space of freedom and madness in a different way from what has been presented to the world. Composing poetry and making friendships chaperoned by the mockery of the adoption of my hero Salem the mythical madness beliefs.

Salem is not rogue but is disciplined like a philosopher. Through him, I present one of the most brilliant performances of the war story, which immerses in the condemnation of dictatorships and wars with boldness that the sane envy. The story examines themes of freedom and war and its consequences from a social, philosophical and cultural perspective, that most often has proven that the Arab mind is close to madness.

Inspired by the story of social media star Qandeel Baloch, who was murdered by her brother in 2016 for what he deemed bringing dishonor on her family through online posts that would be considered mild by Western standards, “Wakhri” is a film that leans on its impressive visuals in order to make it rather pointed comments. It is also worth mentioning that it has just passed government censors in Pakistan, and will be released in the country starting January.

Wakhri is screening at Red Sea Film Festival

Noor is a young widow who teaches in a school in Karachi, with her life goal being to raise funds for an all-girls school in Lahore, fed up by the intense patriarchy of the local society, who has, among other things, girls of school age being part of arranged marriages. Gucci, her cross-dressing best friend is the only real support she has in life, with their relationship being as close as one can be between two people, without them being lovers however. Gucci, who organizes underground parties for the LGBT community, has his own set of problems, mostly revolving around him trying to restrain the leader of a local gang who attack LGBT people. Eventually, and as the pressure on both of them, but particularly Noor, piles up, she decides to adopt the persona of Wakhri, a rather sexy female who talks publicly to people about the issues the country faces, in the most pretentious but also meaningful way. Soon, Wakhri becomes an internet sensation, dividing a whole nation with her fiery speeches.

Iram Parveen Bilal does one very smart thing with the film, essentially mirroring her protagonist's persona. She fills the screen with impressive colors, intriguing frames, rather entertaining music, and a truly charismatic protagonist who clearly draws utmost attention every time she appears on screen, either as Noor or Wakhri. This choice allows her to keep the movie quite entertaining from beginning to end, essentially forcing the viewer to be glued to the screen, and thus making the communication of her comments more impactful.

In that fashion, the frequent music video/performance-like style here benefits the most by the overall production values. Ludovica Isidori's cinematography captures all the aforementioned with a flair that results in a plethora of impressive sequences, all of which are connected excellently by Aarti Bajaj's editing, who additionally implements a relatively fast pace that suits the aesthetics of the movie ideally. The scenes with the parties, Wakhri's appearances, and the violent sequences are where the audiovisual aspect finds its apogee, but it is also easy to say that there are no moments here that look bad.

Furthermore, the visuals benefit the most by the acting, with Faryal Mehmood being impressive on all of her layered character's instances, and Gulshan Majeed providing an equal match, who also gets enough screen time to present his character thoroughly and to highlight his co-protagonist's. The chemistry of the two is also excellent, with their rapport actually carrying the movie from beginning to end.

To return to the comments here, the blights of patriarchy and of an intensely male-dominated and conservative society are showcased in all their glory, with the scene with the panel being one of the most indicative. Bilal suggests that social media can be a way out for people to present alternative views of the world, although the fact that the internet and reality can be two different things is also made quite clear.

Regarding the narrative, some issues with the pacing do exist, and the protagonist's metastrophe is not fully justified; however, both the visual flair and the overall way the film was shot including the acting definitely compensate, resulting in a movie that manages to both entertain and present its comments in the most eloquent fashion.

British-Palestinian filmmaker Farah Nabulsi returns to her roots by shooting a film entirely in Palestine, particularly in Burin over three months, in an effort to highlight the issues the people in the area face.

The Teacher is screening at Red Sea Film Festival

Palestinian schoolteacher Basem grapples with loss after a tragic event involving his son, channeling his grief on helping his students, and particularly two brothers who come from the same village he does: Yakoub, who has just been released after two years detention in a military prison and currently acts as his brother's, Adam, “bodyguard”, with the latter being the brains and him the muscles as he so eloquently mentions in one of the first scenes of the movie. Lisa, a new social worker, also tries to help Yakoub, which is what brings her closer to Basem. At the same time, a high-profile American attorney and his wife seek the return of their son, an Israeli soldier held captive by a Palestinian resistance group. The group's demand for a prisoner exchange creates tensions with authorities, intensifying the search for the soldier and drawing Basem and Adam's neighborhood into turmoil. It is an unrelated tragic incident, however, that brings the pressure towards everyone involved to a boiling point.

Farah Nabulsi directs a film that has a specific goal, of highlighting the injustices the Palestinians suffer under the Israeli Occupation Forces, in all its glory. Having their houses torn down and asked to pay for the demolition is just the beginning, as we watch Israeli judges failing to give justice to any Palestinian claim, while imprisoning youths even for participating in demonstrations against Israel. The suffering of these tormented people permeates the narrative, essentially justifying their own violence as a reaction to oppression.

At the same time, the role of the teacher, who desperately tries to prevent his students from getting imprisoned or even killed, emerges as heroic, with Saleh Bakri as Basem having a role that allows him to shine in the best fashion, and him delivering fully. At the same time, though, his character, in all its manifestations (teacher, lover, father figure, resistance fighter) does appear somewhat unrealistic after a point, in a style frequently met in Hollywood. The same applies to his relationship with the social worker, who happens to be a beautiful blonde searching for someone to show her the ropes, with their arc essentially emerging as completely disconnected from the rest of the narrative, even if both Bakri and Imogen Poots's acting is on a high level.

The same applies to the kidnapped soldier arc, with the drama of his parents being particularly weak, essentially appearing as a misplaced effort to show that tragedy also hits the other side. Lastly, the finale, if satisfying considering the progression of the story, does appear excessively ideal, even if the last scene tones down this element significantly.

All the other elements of the movie, though, are on a rather high level. Mahmood Bakri as Yacoub and Muhammad Abed El Rahman as Adam are both impressive, with their dramatic scenes being as impactful as the few they exhibit their sense of humor. Gilles Porte's cinematography captures the particular location, as much as the rest of the areas the story takes place in with realism and artistry, with a number of his images definitely staying on mind, both due to their beauty and their brutal realism. Mike Pike's editing results in a relatively fast pace that suits the overall aesthetics here, while the combination of the two, particularly in the raid sessions, allow the tension to soar, in one of the most appealing aspects of the movie.

Even if a bit too much of the western view on the events, “The Teacher” emerges as a beautiful, meaningful film that shows quite accurately how the circle of violence is created and keeps erupting in the area.

The perspective of a child. Unspoiled, unassuming, and uninfluenced by the horrors that be. That is the lens that Majid Majidi presents the audience with while embarking on this heartfelt tale that is the celebrated Iranian director's crowning achievement. A modest and understated narrative brought to life by a heavy message carried on by the tiny shoulders of its lead child actors, with their exemplary showing of grit and grace in the face of poverty and neglect. “Children of Heaven” nabbed Iran its first Academy Award nomination for Best Foreign Language Film and is a classic example of Iranian cinema's prowess in delivering pictures with a moralistic backbone.

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Ali (Amir Farrokh Hashemian) patiently waits at the cobbler's shop as the wizened hand of the craftsman mends his sister, Zahra's (Bahareh Seddiqi) pair of pink shoes. The little man, only just a boy of nine, takes on a laundry list of duties and responsibilities while at the market and at home, navigating the complexities of life with a sensibility far beyond his years.  However, his matured visage is betrayed by his age when the boy accidentally leaves his sister's mended shoes unattended outside a grocer while getting some potatoes for the family. When the shoe gets taken by a homeless person mistaking them for garbage, Ali's biggest fears come crashing down upon him. Tears flow like water in the turbulent aftermath that sees the siblings figuring out a way to get by with a single pair of shoes.

Life in Teheran is not easy; dull, harsh, and stressful for the hundreds of people making ends meet in the impoverished South. The same could be said for Ali's situation at home, with the family having trouble paying rent and his father (Reza Naji) barely getting by on a mere pittance to support three children. To prevent tearing the family further apart, the siblings decide to keep the lost shoes a secret and conceive a plan to circumnavigate the problem by themselves.

In a rare cinematic feat, the two young leads shoulder the bulk of the acting roles, and we are led along the ride with them through their childish innocence. Suddenly, a slight incident (like an instance when Zahra drops her brother's shoe into a drain) seems like a huge mishap and when Ali gets yelled at by his headmaster for being late for school, a visceral sense of childhood fear is recalled. On the flip side, it conversely invites the viewer to take a step back and celebrate the smallest of victories.

Throughout the journey, we are often met with a rubber-faced Amir Farrokh, who impressively shuffles between an array of emotions as seen from his many doe-eyed crying episodes to giddy exuberance at making a friend out of a kid from the wealthier suburbs up north. Bahareh Seddiqi complements her fellow castmate with a confident performance way beyond her years, a convincing picture of a sister in distress but trying her utmost best. All these are a product of Majidi's unparalleled direction, coupled with his understated mise-en-scène (extreme closeups and extended shots of everyday life chores) that elicit a great deal of emotional response.

“Children of Heaven” is to be enjoyed without expectations. It is a simple story. A thrilling biking accident involving Ali and his father is the furthest Majidi dares venture his film in the way of complications. And even so, it does not detract from the wholesome tone of the production that serves to inform about the richness of kinship and sacrifice over anything else. Singaporean director Jack Neo was so touched by his viewing of the picture, that he remade it in 2003; “Homerun” being perhaps the highlight of his career.

As Ali takes his triumphant leap to the finish line of a marathon in the third act, he cries once again. But these tears are ignored by the photographer who carries on snapping pictures of him at the victory ceremony, “Look here”, he says. Ali dries his tears, makes his way home and meets with his sister. No words are exchanged but none were needed. Zahra rushes to the aid of her crying baby sister. Ali walks towards the pond, where the goldfishes relieve his aching feet. Life goes on par the course for a movie as genuine and precious as it comes, for the children of heaven.

he Red Sea International Film Festival (Red Sea IFF) marked the closing of its third edition with a screening of Micheal Mann's Ferrari, a Red Sea International Film Financing project, and revealed the winners of its highly anticipated Yusr Awards. The festival also welcomed Hollywood icon Nicolas Cage, receiving a Red Sea Honoree award, and joining the 2023 Honoree line-up of Diane Kruger, Ranveer Singh, and Abdullah Al-Sadhan. Kristoffer Borgli's comedy horror Dream Scenario, starring Nicolas Cage, will screen as the Final Festival Gala on Saturday 9^th December.

Two juries deliberated to finally select winners across 14 categories; led by Jury President Baz Luhrmann. Seventeen films in competition, as well as 23 shorts, were in the running for the coveted awards.

The festival this year celebrated its biggest year yet in terms of attendance – welcoming almost 6,000 accredited guests and selling more than 40,000 tickets across all screenings and In Conversations.

The Closing Ceremony was attended by Honouree Nicolas Cage, Jason Statham, Halle Berry, Gwyneth Paltrow, Adrien Brody, Dhafer L'Abidine, Henry Golding, Andrew Garfield, Yousra, Kaouther Ben Hania, Alia Bhatt, Mahira Khan, Saswan Badr, Baloji.

Jomana Al-Rashid, Chairwoman of the Red Sea Film Foundation said: “Over the past 8 days we have welcomed the world to Jeddah and celebrated this vibrant global film community together – with a goal of bridging cultures and creating new ties. We've done that with over 125 films from Saudi Arabia, Jordan, Egypt, Morocco, Rwanda, Armenia,

Malaysia, Pakistan, New Zealand, France, India, Thailand, and many more – as well as an industry programme in the Souk with 348 Project submissions, and 44 Works in progress from more than 26 countries. We are proud to have created a meeting place for ideas, business, and inspiration to carry us into the new year.”

Mohammed Al-Turki, CEO of the Red Sea Film Foundation said: “Closing this edition of the festival with the MENA premiere of Michael Mann's turbo-charged biopic Ferrari, supported by the Red Sea International Film Fund, and honouring one of Hollywood's greats – master of his craft, Nicolas Cage – alongside the hugely deserving winners of our Yusr Awards, means we end this edition on an absolute high.”

The Festival is supported by Principal Sponsors: MBC Group, NEOM, Vox Cinemas, and Strategic Sponsor, Film Al Ula; Official Sponsors: Al Sagheer, Chopard, the Cultural Development Fund, Chery Pro, SRMG; and Support Sponsors Bloomberg Media, Nova, and Telfaz 11.

The Red Sea International Film Festival runs from 30 November – 9 December

Please see below the full list of winners:

Asharq Documentary

Awarded for Best Documentary In Competition – a $10,000 prize

Winner: Kaouther Ben Hania for FOUR DAUGHTERS

Chopard Rising Talent Trophy

Winner: Nour Alkhadra

Film AlUla Audience Award: Saudi Film

With a $50,000 prize

Winner: NORAH / Saudi Arabia – Red Sea: Competition

Film AlUla Audience Award: Non-Saudi Film

With a $50,000 prize

Winner: HOPELESS / South Korea – Festival Favourites

Check the review with the director

Shorts

SILVER YUSR FOR BEST SHORT FILM

With a $12,500 prize

Winner: SUITCASE – Directed by Saman Hosseinpuor and Ako Zandkarimi

GOLDEN YUSR FOR BEST SHORT FILM

With a $25,000 prize

Winner: SOMEWHERE IN BETWEEN – Directed by Dahlia Nemlich

Features

BEST CINEMATIC CONTRIBUTION

Winner: OMEN / Baloji

BEST ACTOR

Winner: Saleh Bakri / THE TEACHER

BEST ACTRESS

Winner: Mouna Hawa / INSHALLAH A BOY

Check the interview with the director

BEST SCREENPLAY

With a $10,000 prize

Winner: SIX FEET OVER / Karim Bensalah and Jamal Belmahi

BEST DIRECTOR

With a $10,000 prize

Winner: Shokir Kholikov / SUNDAY

JURY PRIZE 

With a $10,000 prize

Winner: Farah Nabulsi / THE TEACHER

Check the interview with the director

SILVER YUSR FOR BEST FEATURE FILM

With a $30,000

Winner: DEAR JASSI / Tarsem Singh

Check the interview with the director

GOLDEN YUSR FOR BEST FEATURE FILM

With a $100,000

Winner: IN FLAMES / Zarrar Kahn

Check the review of the film

On the occasion of her film The Teacher screening at Red Sea International Film Festival, where it won the Best Actor award and the Jury Prize, Farah Nabulsi talks to Panos Kotzathanasis about shooting a film in Palestine, the current situation in the area, the cycle of violence and how it can end, humor in hard times, the casting and the cinematography, and other topics.

On the occasion of their film Wakhri screening at Red Sea International Film Festival, actors Bakhtawar Mazhar and Gulshan Majeed talk to Panos Kotzathanasis about the life of women and LGBT in Pakistan, how they perceive and approach their characters, their collaboration with the director, the local movie industry, and other topics.

Second of two Pakistani movies screening at Red Sea competition section this year (the other being “Wakhri”), “In Flames” also deals with the issues women face in the country nowadays, implementing, however, an approach that moves towards the supernatural on occasion.

In Flames is screening at Red Sea Film Festival

Mariam is a medical student living with her mother Fariha and younger brother in a tiny Karachi flat owned by her grandfather, following her father's death. When the grandfather dies, leaving a mountain of debt, an uncle steps in offering to cover them. Mariam is suspicious of his motifs, but her mother won't hear anything about it, insisting that the uncle only wants to help. In the meantime, and after an attack on her car while she was driving, she meets Asad, a fellow student, who was introduced to her by a friend. The two, and after his intense courting, come closer together, but tragedy soon strikes, with the bad incidents actually following one another. In the meantime, Mariam's mental health is failing, with her having awful nightmares that eventually carry on onto her daily life.

Zarrar Khan directs a movie that begins as a social/family drama, with the distinct purpose of highlighting the issues of both women in Pakistan and what the overall society faces. Scenes like the one where someone from the school tells Mariam and Asad to sit further apart because “this is not a Bollywood movie” are indicative, as much as the whole arc with the uncle, and the people harassing the beautiful Mariam all over the place every time they get.

Check also this interview

In that regard, it is easy to say that the movie begins quite nicely, weaving an intriguing story with rich context. However, as time passes, and particularly after Mariam starts exhibiting mental issues, Kahn loses his control over the story, which ends up going into paths that do not make any sense. Granted, this part can also be perceived as a comment about mental illness and how it is (not) treated in Pakistan, with the scene with the spiritual healer being indicative, but even through that prism, the narrative is essentially lost.

The one who seems to suffer most from this is the character of Faraha, with the scene with the lawyer and the one where the twist comes being quite disconnected from the rest of the narrative, even if the ending ties them all up, to a point at least. And talking about the finale, it is easy to say that, in combination with the beginning of the story, and the way the whole thing is turned around, is the movie's greatest trait, also making an unrealistic, but also quite satisfying comment.

The acting is also on a very high level. Ramesha Nawal as Mariam is quite convincing in the way she portrays her downward spiral, and the way she tries to go against all odds, failing most of the time, in a way though, that makes her both likable and heroic. Bakhtawar Mazhar as Fariha does her best in a role that is not particularly well-written, again finding her apogee close to the end. Omar Javaid as Asad steals the show on occasion with his child-like but quite appealing behavior, with his flirting scenes with Mariam highlighting their excellent chemistry, as much as providing one of the most appealing aspects of the movie.

Aigul Nurbulatova's cinematography captures the claustrophobic setting the protagonists inhabit, with the scenes with the “healing” and the overall offensively voyeuristic aspect working quite well for the movie. Craig Scorgie's editing maintains a fitting mid-tempo while the twist is well-placed. At the same time, though, the way the story moves into a number of unfitting paths harms the film significantly, particularly when the whole thing moves into supernatural horror territory.

“In Flames” has a lot of merits, and it is well-shot and well-acted. The fact that the director was not sure if he wanted to shoot a social drama or a horror film, however, harms the whole thing significantly, as the transition does not make sense. Along with some plot holes in the script, the whole thing results in a work that can only be described as a missed chance. And on a personal note, I would like to see Kahn moving exclusively towards horror paths, since he seems to have a knack for creating scenes that can shock.

Recognizing the importance of supporting and developing the film and visual arts sector, the Film Association has launched its journey as part of the Ministry of Culture's initiative to establish key professional associations. This initiative is led by His Highness Minister Prince Badr bin Abdullah bin Farhan Al Saud and was announced at the press conference hall of the Red Sea International Film Festival 2023, held
at the Ritz Carlton hotel in Jeddah from November 30 to December 9, 2023. Attended by a number of filmmakers and journalists, the artist, director, and writer Baraa Alam engaged in dialogue with members of the Film Association about their objectives and their active role in the sector.

The discussion began with Hanaa Al Omair, a board member of the Film Association and a director and writer, who believes that “having a professional association is fundamental for the development of the sector.” This is achieved through working on legislation and rights, which are crucial for the growth and evolution of those working in the sector. Hence, the importance of establishing unions or associations that focus on the rights of these workers. She pointed out that the name of the association is based on the idea that each body within the Ministry of Culture corresponds to professional associations; therefore, the existence of a Film Authority necessitates a Film Association. Abdulmohsen Al Nimr, another board member, emphasized the need for such unions to focus on “the rights of the artist and providing guarantees for their training and care in times of need.”

Mishal Al Mutairi, the president of the Film Association and an artist and producer, shared that the association aims particularly “to achieve its goals through its members.” It was established as an initiative of the Ministry of Culture, and members were selected for a fundamental role in founding the association, followed by the next step of enrolling members and creators to voice their opinions. “His Highness, the Minister of Culture, is very keen to hear the challenges, as they are the voice of the sect or.” He then discussed the key strategies, including “influencing policies” to positively accompany the renaissance of the film industry, representing the sector, and “raising awareness in responsible bodies to hear from the workers.” This involves overcoming obstacles and hosting and visiting prominent global unions to study the best practices and applications in the industry. The focus is also on the legal aspect, developing legal awareness in the sector to achieve “a clear image and a heard voice.”

Tawfiq Al Zaidi, a founding member of the association, a writer and director, mentioned that his main interest is “talent,” highlighting the need for a representative umbrella that offers substantial support to them. For a sustainable project, the association works on connecting creators with talent, as “the sector is built on money and talent.”

Alaa Faden, another founding member, and the CEO of Telfaz 11, sees the importance of facilitating the sector for creators in terms of “unifying contracts and rights,” emphasizing the need for “an association with global standards that represents the workers and seeks their rights” to bridge the local industry and global unions.

Abdulaziz Al Muzaini, a board member and founding partner of Myrkott and Sirb production, believes that the local industry still lacks some fundamentals. Therefore, one of the association's most important roles is “to establish laws and legislation to protect all parties and platforms,” considering that the local market is still emerging.

The discussion concluded with the importance of working on legal rights and unified contracts as a first step for the Film Association, which encompasses everything related to the dramatic work of cinema and television “due to the continuous overlap between cinema and television,” as seen by Hanaa Al Omair, a board member. Mishal Al Mutairi, the president of the Film Association, concluded the dialogue by saying:
“We establish and create, and the next step is yours.”

The Red Sea International Film Festival (Red Sea IFF) is delighted to announce the winners of the Red Sea Souk Awards – vital funding and in-kind grants to develop and boost new talent from Saudi, Arab and African directors. Three juries deliberated to finally select nine winning feature ideas and two TV series, whose creative visions will now benefit from generous prizes awarded by the Red Sea Fund and its award partners.

A total of 24 new film projects screened as part of the Red Sea Souk, with 12 titles by filmmakers of African and Arab origin, alongside 12 Red Sea Lodge projects by Saudi, Arab and African directors which have been developed over the last year through intensive workshops and in partnership with the Torino Film Lab. The Red Sea Souk Project Market jury awards are supported by the Red Sea Fund, and in the selection were five Saudi projects, eight African projects and eleven projects from the wider Arab region.

An additional wing of the Project Market is the Work-in-Progress Showcase featuring six feature films by directors who are also of the African or Arab diasporas. All selected Work-In-Progress projects have competed for the Red Sea Souk Awards, supported by the Red Sea Film Fund, and of which there are two winners to be chosen by the Work-in-Progress Showcase Jury.

Mohammed Al-Turki, CEO of the Red Sea Film Foundation said: “The winners of this year's Red Sea Souk Awards demonstrate the rich and varied new visions in filmmaking emerging both from the wider MENA region and from those who have roots here. These directors are the cinematic voices of tomorrow and we are thrilled to play a part in the development of their talent and storytelling which will undoubtedly yield successes and international recognition.”

Shivani Pandya Malhotra, Managing Director Red Sea International Film Festival said: “The Souk is the beating heart of this festival in that it is the genesis of so many projects, and is the culmination of everything the foundation does throughout the year and has been growing year on year since our inception in 2021. There were over 570 meetings which took place for the market projects, which is an impressive metric of how this marketplace creates opportunity – on top of the 26 winners who walk away with vital support for their fantastic work. With participants from 30 countries – we have a robust showing of projects which we're very proud to support and look forward to seeing them go from strength to strength.”

Zain Zedan, Red Sea Souk Manager, said: “We are thrilled to be closing out our most successful Souk yet – with a record number of countries and exhibitors who have participated in what is a truly vibrant marketplace. In addition to the Awards and networking opportunities we facilitate, we also run a programme of talks which this year includes industry veterans Zeinab Abu Alsamh, Karim Zreik, Diego Ramírez Schrempp, Sheri Elwood, Sébastien Onomo, Woo-Sik Seo and many more regional and international prominent figures. We look forward to reconvening in 2024 and seeing the trajectory of these creators and businesses soar in the coming year.”

Additional Souk Partner Awards come from: Arab Cinema Center (ACC), Arab Radio and Television (ART), CineWaves Films, Ithra, MAD Solutions, MBC Academy/Shahid, Oticons, Shift Studios and Titrafilm.

The Red Sea International Film Festival runs from 30 November – 9 December. Look here for further details of Red Sea Souk and Red Sea Labs on the RSIFF website.

Please see below the full list of winners:

Arab Cinema Center (ACC)

2 supported places on the International Film Festival Rotterdam Producers Lab

Saudi Winner: Ghaidaa Abuazzah (BY HASNAA'S SIDE)

Arab Winner: Fatma Racha Shehadeh (THE GIRL AND MISSING BED)

MAD Solutions

50,000 USD to a project in development, in production or in post production.

Winner: NOSTALGIA: A LIFE IN FIRST CHAPTERS by Ameer Fakher Eldin

OTICONS

Oticons Award for a Work-in-Progress film consisting of Music Consulting services worth 5,000 USD

Winner: MEN IN THE SUN by Mahdi Fleifel

SHIFT STUDIOS

12,000 USD Shift Studios awards for a promotion package worth 12,000 USD

2 Awards

Winner: RISING UP AT NIGHT by Nelson Makengo

Winner: MY SEMBA by Hugo Salvaterra

8,000 USD Shift Studios award consisting of a full DCP package worth 8,000 USD

Winner: MEN IN THE SUN by Mahdi Fleifel

TITRAFILM

In kind award for a Work-in-Progress film worth 15,000 USD

Winner: ANIMALE by Emma Benestan

Arab Radio and Television Network (ART) 

10,000 USD ART grant for one Saudi Project in development or production

Winner: THE NIGHT WHISPERER by Lina Mahmoud

50,000 USD ART Award for one Arab Project in development or production

Awarded by ART

Winner: LOVE CONQUERS ALL by Danielle Arbid

CineWaves Films

50,000 USD CineWaves Films Distribution Award for a project in development, production or post-production

Winner: MECCA, BERLIN by Majtaba Saeed

Ithra

50,000 USD Ithra award for one Saudi project in production or post-production

Winner: THE NIGHT WHISPERER by Lina Mahmoud

MBC Academy/Shahid 

75,000 USD MBC Academy /Shahid Award for a Saudi project in development

Winner: IN THE BEGINNING, IT IS THE END by Ghadeer Binabbas

75,000 USD MBC Academy /Shahid Award for a Saudi project in development or production or post-production

Winner: BY HASSNA'S SIDE by Amaal Youssif

50,000 USD MBC Academy/Shahid Award for an Arab project in development or post-production

Winners: MADNESS AND HONEY DAYS by Ahmed Yassin Al-Daradji

Serieslab Awards

10,000 USD Red Sea Serieslab Award

Awarded by Serieslab Jury

Winner: EYE OF THE KITE by Saleh Al-Hamad

Winner: OUR SON IS PRETTIER by Hanaa Saleh Alfassi

WIP Awards:

Red Sea Souk Post-Production Jury Special Mention Award with a grant of 10.000 USD

Awarded by Red Sea WIP Jury

Winner: MY SEMBA by Hugo Salvaterra

Red Sea Souk Post-Production Award with a grant of 30,000 USD

Awarded by Red Sea WIP Jury

Winners: YUNAN by Ameer Fakher Eldin

Lodge Awards:

50,000 USD Red Sea Souk Production Award for a Red Sea Lodge project

Awarded by Project Market Jury

Winner: BY HASNAA'S SIDE by Amaal Youssif

Winner: FANTASTIC TALE by Vincho Nchogu

Winner: BLACK SNAKE by Naishe Nyamubaya

Winner: MY FATHER KILLED BOURGHIBA by Fatma Riahi

PM Awards:

Awarded by Project Market Jury

25,000 USD Red Sea Souk Jury Special Mention Award

Winner: LOVE CONQUERS ALL by Danielle Arbid

35,000 USD Red Sea Souk Development Award

Winner: WHEN I CLOSE MY EYES, I SEE YOUR EYES by Sameh Alaa

100,000 USD Red Sea Souk Production Award

Winner: THE RETURN OF THE PRODIGAL SON by Rani Massalha

“As a struggling office worker, Dokja Kim's sole joy in life is an online novel so obscure that he's its only reader. Then one day the story comes to an end…and so does the world. People all around the globe suddenly find themselves being massacred by horrific monsters or pitted against each other in sadistic scenarios straight out of the novel. However, only Dokja is aware that this is merely the first chapter of what is to come. Knowing that devastating plot twists are on the horizon, he can no longer afford to sit back as a reader—it's time for Dokja to step up and write his own destiny!” (Ize Press)

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on Amazon by clicking on the image below

Adapted from the story by singNsong, who is also the author behind “The World After The Fall.” The two series offer a lot of comparable elements, with the primary being the action-heavy pacing that shucks character development to tap into the sensational aspects instantly. However, where this proved slightly limiting in the already published series, “Omniscient Reader's Viewpoint” thrives in the chaos.

The set-up to the story is a kitchen sink approach, mashing in almost every genre one could expect of a popular fantasy Manhwa series. It is an exhaustive list with elements of horror, action, RPG, alternative realities, superheroes, potential romance, and death games. However, the series is approached more as a love letter to the medium of comics with a wink and a nod to the reader, making it more playful than throwing everything at the wall and hoping anything sticks.

Check also this interview

This includes self-referential moments, including the character mentioning singNsong's other works when discussing his obsessions. The awareness and slightly meta approach give the manhwa a playful, dark, and comedic edge that subverts expectations. Avoiding spoilers, the first volume offers several unexpected outcomes, leading one to believe the series will continue in this playful, self-aware manner. It is an immediately gripping aspect of the series, and the first volume will leave readers champing at the bit for the next.

The way the series instantly grips the reader is impressive when considering the drive, values, morals, etc, of protagonist Dokja is paper thin at best. However, at the same time, this will likely limit the appeal to new readers of the medium, as the series does ask for instant participation and buying into the scenario. The downside of being a love letter is that unfamiliarity with manhwa will likely hurt the perception. Those who have read plenty won't find this a problem, but it is essential to understand it is not an ideal starter series.

Visually, Sleepy-C does a phenomenal job of juggling the various story elements and making them feel cohesive. His design of the imp-like creatures that oversee the challenges is wonderfully ghastly, the action flows naturally, and the comedic elements land thanks to the characters' reactions. The most impressive art for a fantasy title still goes to Undead Gamja for “The World After the Fall.” Still, Sleepy-C's juggling so many elements and making them cohesive is impressive in the adaptation, and the book is consistently enthralling under his direction.

Putting more detailed criticism of the work aside, “Omniscient Reader's Viewpoint” can be summed up simply as ‘f***ing cool.' A love letter to the format of manhwa that works perfectly under the direction of Sleepy-C and REDICE Studio. The first volume packs a punch and does not let up the moment the world plunges into chaos. If the series keeps momentum, it will be a standout hit for Ize Press.

On the occasion of Hopeless screening at Red Sea International Film Festival, director Kim Chang-hoon talks to Panos Kotzathanasis about what it means to be hopeless, the cycle of violence, the character of the mother, the cast, and other topics.

On the occasion of Mandoob screening at Red Sea International Film Festival, director Ali Kalthami talks to Panos Kotzathanasis about the inspiration behind the film, working with protagonist Mohamad Aldokhei, the issues the main character faces, the rest of the characters of the film, his future projects and other topics.

On the occasion of “Dalma” screening at Red Sea International Film Festival, actor Osman Aboubakr talks to Panos Kotzathanasis about the role of Fouad and his approach towards the character, his collaboration with the director, being an actor in UAE, and many other topics.

International Film Camp (IFC), a groundbreaking initiative aims to nurture and empower the next generation of Asian filmmakers. With patronages of Hong Kong Culture, Sports and Tourism Bureau and Instituto Cultural of Macau, and sponsored by Create Hong Kong, Film Development Fund and Sands China Ltd., the IFC will provide a unique platform for emerging filmmakers to interact with industry professionals, gain valuable insights into the creative and commercial aspects of cinema, and receive production funding and distribution opportunities through the Asian Film Awards Academy.

Scheduled to take place from April 9 to 13, 2024, at the integrated resorts operated by Sands China, the IFC promises to be a transformative experience for aspiring filmmakers. Open to talented individuals aged 21 to 40 from Hong Kong, Macao, Greater China, and the wider Asian region, the camp will offer a comprehensive curriculum designed to enhance their skills and knowledge.

One of the key highlights of the IFC is the opportunity for participants to submit proposals for a short narrative fiction film centered around the theme of “My Hometown”. Applicants will be required to submit a treatment, director's statement, and production plan, along with a five-minute sample reel of work or works directed by the applicant. A select group of around 30 candidates will be shortlisted for online interviews conducted by a distinguished panel of industry experts. Ultimately, 16 filmmakers will be chosen to attend the IFC.

Content

During the Camp, film industry professionals will be appointed as mentors to share their valuable experiences with the participants. Additionally, participants will have the opportunity to engage in panel discussions and masterclasses covering various aspects of the industry, such as directing, scriptwriting, editing, producing, funding, distribution, and more. This will provide valuable insights and knowledge to enhance their understanding of the film industry.

At the end of the camp, the 16 filmmakers will pitch their short film projects to a panel which will then award eight filmmakers a production grant of HK$300,000 (approx. US$38,000) each to make their short film. This panel will be chaired by the camp's Chief Mentor, veteran film producer Terence Chang whose successful career has encompassed the Hong Kong, Hollywood and China film industries.

To promote the works of the emerging filmmakers and enable their projects to reach a wider audience. The Asian Film Awards Academy will curate feature-length anthologies of the short films produced during the IFC and, showcase them in its prestigious Asian Cinerama annual touring programme. Additionally, the Asian Film Awards Academy will be ready to assist filmmakers in submitting their individual short films to relevant film festivals, amplifying their reach and exposure within the industry.

BRING YOUR SHORT FILM TO LIFE!

Pitch your short film project on the theme of “My Hometown. ”16 successful applicants will spend five days in Macau (travel and accommodation provided)

• Learn from professionals
• Develop your skills
• Network with veterans and peers
• Eight filmmakers will receive HK$300,000 each to make their short film

International Film Camp: 

Date: April 9 to 13, 2024 (To facilitate travel, participants are required to arrive on Apr 8 and depart on Apr 14) 

Venue: Integrated resorts operated by Sands China 

Apply Here: International Film Camp – Asian Film Awards Academy (afa-academy.com)

On the occasion of her film Wakhri screening at Red Sea International Film Festival, director Iram Parveen Bilal talks to Panos Kotzathanasis about the film soon screening in Pakistan, the place of women in local society, the real events is based on, acting, cinematography and music, the Pakistani movie industry and other topics.

Dalma is a very small Emirati island located in the Persian Gulf, approximately 42 kilometers off the coast of Abu Dhabi. It is in this picturesque setting that Humaid Alsuwaidi chose to place a story about a woman fighting against the norm, and essentially against all odds.

Dalma is screening at Red Sea Film Festival

The aforementioned woman is Dana, who ho moves to Dalma island upon inheriting a decrepit house from her recently deceased father. Dana gets the house renovated and starts renting it out to tourists. An innocuous lunch at the only restaurant she finds in the area ends up with the previous owner, Fouad, losing his establishment, and her eventually taking hold of it, turning it into a fashionable cafe. Her action, however, makes her an enemy to a number of people in the island, while Ghaith, a doctor who refuses to leave Dalma, despite the many opportunities on the mainland, soon starts playing a crucial role in the story, also one of collision.

Humaid Alsuwaidi revolves his script around Dana, a hard, determined woman who is willing to succeed in the island, in a way that goes completely against the norms there, to the point that she becomes the enemy of almost everybody. As such, and in rather realistic fashion, Alsuwaidi presents her as a woman filled with capabilities but also faults, with her strong headedness in particular and unwillingness to take even a step back making her both likable and unlikeable at the same time (on occasion if you prefer) .

Through her, however, the filmmaker definitely succeeds on making a comment about patriarchy in the UAE, and also to highlight the issues all small communities are tormented by, with the distrust of strangers and their unwillingness to change their routines and ways essentially being a type of institutionalization.

In general, it is easy to say that the movie's biggest trait is its characters, with Alsuwaidi's writing thriving in that regard. Fouad for example, and the way he manages to adapt to the newcomer, only to find his efforts failing once more is quite interesting, while Ghaith, and his multilayered persona and particularly the way he turns from a doctor to something completely different, is equally intriguing with the protagonist.

This aspect also benefits the most by the acting. Hira Mahmood in the role of Dana is a true powerhouse presenting all the different aspects of her character, and particularly her will to fight, in the most impressive fashion. Rashed Hasan presents Ghaith's downward spiral convincingly, while Osman Aboubakr as Fouad is quite good in the role of one of the story's catalysts. Furthermore, the interaction of the three highlight their excellent chemistry, with the one-on-ones among them being among the highlights of the movie.

Kanat Rymtayev's cinematography captures the beauties of the island in impressive fashion, as much as the cafe as a setting that is both suffocating and a type of sanctuary, depending on the occasion. Alsuwaidi's own editing results in a mid-tempo that works well for the story and the overall aesthetics of the film.

In the end, however, the finale of the movie can be easily misunderstood as a crime-and-punishment comment that will very hardly resonate in this day and era. Apart from that, which is actually not what the director wanted to say, there is nothing wrong with “Dalma” which emerges as a very easy to watch film that also manages to make a number of comments, and would only need some more funds that would result in a better production. Alsuwaidi definitely seems like someone worth following in his future endeavors.