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A drama about a single mother living in Kinshasa with her 16-year-old son. — “The Wound” (“Isiko”), by South African director John Trengove. —“Ghost Hunting” (“Istiyad Ashba”), by Palestinian director Raed Andoni.A drama on same-sex desire between young men set against the backdrop of male circumcision rituals practiced by the Xhosa people of South Africa. A documentary about a group of Palestinians who are former inmates of an Israeli Security Agency detention center.
Diab is known internationally for bold sex harassment pic “Cairo 678,” which played well both in Egypt and in France.
These issues — especially Islamic fundamentalism — are now seeping into more innovative types of narratives that can can give Arab cinema a wider reach besides being fodder for bona-fide dramas.
“There is a new generation of Arab directors who understand that they have to make movies with a more universal appeal,” says Eric Lagesse, head of France’s Pyramide Films, co-producer of Egyptian director Mohamed Diab’s Islamic fundamentalism-themed “Clash,” which is screening in Un Certain Regard in Cannes.
“Egyptian filmmakers have always looked to both the local and international markets,” says Intishal Al Timimi, co-topper of the Sanad Abu Dhabi film fund for Arab cinema.
“But, for those outside Egypt it’s much tougher.” Even Lebanese sensation Nadine Labaki, who set box office records in her home country, most recently with her fresh 2011 dramedy “Where Do We Go Now?
The awards by the Venice Production Bridge’s Final Cut in Venice workshop are set aside for films from Africa and the Arab world.
The following pics in advanced stages will receive different types of support, including free color correction, sound mix, distribution, DCP costs and cash: — “Felicity,” by Senegalese director Alain Gomis.
They confront their past by rebuilding a facsimile of their old prison in an empty yard near Ramallah and re-enact a traumatic event that took place there.
— “Obscure” (“Otmah”) by France-based Syrian director Soudade Kaadan.
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