< PreviousCOVER STORY What also makes SIFF diff erent is its Child and Youth-made fi lms category which features movies helmed by children, and are judged in the awards competition by a jury comprising children. SIFF is a platform for children and youth but we view our main target audience as citizens of the world. And so to elevate their experience, we off er a balanced mix of fi lms that are highly entertaining but also those that educate them on what is happening around the world. For this, we curate movies that make them think, use their imagination in new ways, and show them the reality of situations in places near and far such as Palestine and Syria, for instance, or those that dwell on hunger, women empowerment, the refugee experience, and more. We hope children are inspired by and learn from those overcoming great odds to become agents of change themselves. WHAT WAS IN STORE FOR FEST ATTENDEES FROM THE MIDDLE EAST AND ELSEWHERE INTERNATIONALLY THROUGH THE FILM FESTIVAL? From October 10 and 15, fi lm enthusiasts explored 95 fi lms from 43 countries at the Al Jawaher Reception and Convention Centre and Vox Cinemas in City Centre Al Zahia in Sharjah and the City Centre Mirdif’s Vox Cinemas in Dubai. The selection included 16 feature fi lms, 16 student fi lms, 28 animated works, seven documentaries and 12 child and youth- made titles. Audiences were treated to several short fi lms from the GCC as well as international titles. Three fi lms had their Middle East premiere at SIFF this year. These include The Electrical Life of Louis Wain, starring BAFTA winner Benedict Cumberbatch and Claire Foy; Croissant, directed by David Cho; and remake of the children’s classic, The Secret Garden, starring Colin Firth, Julie Walters, and newcomer Dixie Egerickx. SIFF also hosted its fi rst Green Carpet event this year that brings together fi lmmakers with their audiences to discuss their creative works. Apart from the Middle East premieres, Farha, The Neighbourhood Storyteller, and Paper Flower, were also part of the Green Carpet line-up. Audiences had the opportunity to open their minds to the culture and art of diff erent regions by listening to renowned directors, producers and actors who were part of panel discussions, workshops, and more. Some of the special guests at SIFF 2022 were Egerickx, Syrian singer Rasha Rizk, Emirati fi lmmaker Fadel Al Mheiri, and Syrian fi lmmaker Waad Alkateab. IT IS HARD TO SINGLE OUT ONE OR MORE SPECIFIC MOVIE AS ALL THE FILMS CURATED FOR SIFF 2022 TESTIFY TO THE POWER OF STORYTELLING ON SCREEN. THESE FILMS ELEVATE THE MOVIE-WATCHING EXPERIENCE, EXPLORE NEW PERSPECTIVES AND OFTEN CHALLENGE OUR OWN. In the frame: The screening of the classic film adaptation, Secret Garden. www.digitalstudiome.com20 / NOVEMBER 2022COVER STORY WHAT ARE SOME OF THE “MUST SEE” STANDOUT FILMS THAT STUNNED YOU UPON FIRST SEEING THEM? TELL ME A LITTLE ABOUT THEM AND WHY THEY APPEALED TO YOU PERSONALLY. It is hard to single out one or more specifi c movie as all the fi lms curated for SIFF 2022 testify to the power of storytelling on screen. These fi lms elevate the movie-watching experience, explore new perspectives and often challenge our own. As a person from the Middle East, I have been particularly moved by three movies that are showcasing the realities and everyday issues in the region. Of these, two are documentaries while the third, Farha, is inspired by a true story. Darin’s J. Sallam’s Farha presents events from the Palestinian Nakba in 1948. What is notable about this bold directorial debut is that it is depicted from the unique perspective of a young girl trapped inside a single room. As we witness the events unfold with her, through the cracks of a wooden door and gaps between stones, the gravity of the situation strikes at the heart of the viewer. Waad Alkateab’s For Sama is a powerful and harrowing portrait of life under siege in Aleppo, Syria. Although it is heartbreaking to see all the destruction, we also see fl eeting glimpses of joy and hope. What happens when we empower women? The full signifi cance of this is revealed in The Neighbourhood Storyteller, where a young Syrian refugee woman’s determination to raise a conscious generation of successful women will inspire all of us to take action. We had a couple of Middle East premieres that had their screenings at the fi lm festival. One of it is The Incredible Life of Louis Vain. We have two Korean fi lms: Korewasan and The Paper Flowers. We also have Palestinian fi lms, and my personal favourite is The Secret Garden. It’s a remake of the classic that we all read as children and watched the old fi lms. So I would love for everyone to watch this. THE SOUL OF SEVERAL FILM FESTIVALS IS LOST WHEN UNDERTAKEN VIRTUALLY. IS THAT SOMETHING YOU AGREE WITH? The joy of watching fi lms in a full theatre together with other audience members cannot be recreated online. But to stay relevant, we had to pivot to the virtual mode last year in light of the unprecedented circumstances. We maintained the same standards for excellence in fi lm programming and it was great to see how fi lms clearly brought people together - even if we were not together in a theatre! Filmmakers too, stood by us and we did not disappoint those who waited to have their Middle East premieres via SIFF. This community spirit has remained unchanged, and that has been gratifying. With the removal of the barrier of geography, it was heartening to see that our fi lms were being enjoyed by children, youth, adults and families in In the frame: Sheikha Jawaher bint Abdulla Al Qassimi strikes a pose with her team at SIFF. www.digitalstudiome.comNOVEMBER 2022 / 21 COVER STORY the entire region and beyond. Moreover, this accessibility is proof that the soul of cinema is not fully lost even when we view it in a virtual format. SINCE YOU WERE EXPOSED TO UNIQUE FILM EXPERIENCES AROUND THE WORLD, WHAT DID YOU FIND WAS A COMMON DENOMINATOR BETWEEN THEM? Film festivals everywhere are the ultimate celebration of cinema. It is a showcase not just for fi lms, but is also a platform to connect all fi lmmakers – and all those interested in fi lm – with industry professionals. The workshops, discussions and screenings with leading industry names are crucial for both fulfi lling one’s knowledge of the industry and to develop the practice within a larger framework. TAKE US BEHIND THE FIRST ARABIC SCI FI PRODUCTION AND WHAT WAS THE STARTING POINT OF IT? It is called Ajwan and is based on a novel by an Emirati writer Noora Nouman. It’s the fi rst sci fi Arabic animation series in the world. We’ve seen foreign animation or English animation but this a compelling piece from our region that tackles myriads of issues like woman empowerment and refugees but does it undirectly, in a way never seen before. WHAT ARE THE CHALLENGES THAT COME WITH RUNNING A FILM FESTIVAL OF THIS STATURE? At the beginning when we fi rst started, the perception of the people was that we were creating only Disney fi lms. However, over time as we showcased In the frame: The Middle East premiere of South Korean film, Kids Are Fine at SIFF 2022. TRENDS DOMINATING WORLD CINEMA FIND THEIR WAY INTO SIFF TOO. FOR INSTANCE, THE GENRE-BENDING, UNIVERSALIST THEMES OF KOREAN SOCIETY WHICH HAVE BEEN EMBRACED AROUND THE WORLD ARE DOMINATING SIFF THIS YEAR. www.digitalstudiome.com22 / NOVEMBER 2022COVER STORY documentaries, shorts, and diff erent kinds of animation that are all under the umbrella of children fi lms as well, we saw people understand what we were really after. ANY SIGNIFICANT CHANGES YOU’VE SEEN IN THE CREATIVITY/ FLAVOUR OF FILMS PRESENTED OVER THE YEARS? Its amazing how the passion and creativity of fi lmmakers around the globe continue to astound us year after year. To be sure, trends dominating world cinema fi nd their way into SIFF too. For instance, the genre-bending, universalist themes of Korean society which have been embraced around the world are dominating SIFF this year. We have 6 fi lms from South Korea, including our opening fi lm, Kids are Fine, and two shorts, that are masterfully crafted and unique in their originality. WHAT IS YOUR TAKE ON THE ROLE OF FESTIVALS LIKE THIS IN FOSTERING INTEREST NOT JUST IN A CULTURE OF FILM GOING, BUT IN A CULTURE OF FILMMAKING OVERALL? To have your fi lm selected by a festival is in itself a great achievement. For those who are just embarking on their careers in fi lm, to be screened alongside established names is also a great honour and comes with great learnings that help them evolve. The unique stories, the craft of storytelling, and the talent and skills of dozens of individuals - all of these come more into focus during a fi lm festival. To add to this, the engaging panel discussions and workshops on aspects of fi lmmaking expand knowledge of both fi lmmakers and the general public and contribute to the growth of cinema on a larger scale. Moreover, for small and independent cinema and movie makers especially, these festivals are really great platforms to actually drive exposure for their fi lms. INTERNATIONAL FILM FESTIVALS TODAY ARE EXTENDING THEIR PROGRAMMING SCOPE BEYOND In the frame: Sheikha Jawaher bint Abdulla Al Qassimi, Director of FUNN and Sharjah International Film Festival (SIFF). In the frame: From the South Korean film green carpet event at SIFF 2022. THE UNIQUE STORIES, THE CRAFT OF STORYTELLING, AND THE TALENT AND SKILLS OF DOZENS OF INDIVIDUALS - ALL OF THESE COME MORE INTO FOCUS DURING A FILM FESTIVAL. FILM PRODUCTION, INCLUDING EPISODIC STORYTELLING, XR OEUVRES, AND VIDEO GAMES. IS THIS A DIRECTION THAT SIFF MIGHT BE PONDERING? Because we’re focusing on children and the youth, we have to see what’s gaining momentum, for instance, in areas like VR or AR, that is capturing their imagination, and then see how we can implement these trends. I’m proud to see how we’ve grown and hope we continue to do so, on the right path and in the right way. www.digitalstudiome.comNOVEMBER 2022 / 23 SPOTLIGHT hat was the starting point of Arab Cinema Week? Butheina Kazim: Arab Cinema Week has always been part of our long-term plan since we opened our doors in September 2018. We had a trial run of a similar concept called the AFAC fi lm week which was a micro version of Arab Cinema Week. This was a really promising start to what we always believed in and what we wanted to achieve in the absence of the Dubai International Film Festival, the Abu Dhabi Film Festival and the Gulf Film Festival. There was a signifi cant gaping hole that was left behind by both the fi lms (the narrative and thematic) and the celebration and participation of the fi lmmakers behind those stories. Cinema SHOWTIME Cinema Akil, the only independent cinema in the UAE, recently kicked off its fi rst Arab Cinema Week. The programme included riveting stories and talent from and about the Arab world, representing 11 Arab countries with nine female directors showing their work, some of which are being screened in the UAE for the fi rst time. Misbaah Mansuri speaks to Butheina Kazim, Founder, Cinema Akil, and Rabih El-Khoury, Programme Curator behind the arthouse cinema, and explores how its stories and creativity are shaping the future of art and culture in the region W www.digitalstudiome.com24 / NOVEMBER 2022SPOTLIGHT fi lms that we may not have the commercial bandwidth to take on outside of the focal point of a festival. This is one of the things we got to do this year, with for example fi lms like Mariner of the Mountains by Karim Ainouz which is a fi lm that is extremely poignant in the focus on Algeria. We had the opportunity to present it this year and the opportunity to have him join us on Zoom and present the fi lm. With only two screenings of the fi lm, this is one way that the fi lm week format allowed us to take risks and present fi lms that otherwise wouldn’t really have a consistent spot in the program. Akil was founded to be a champion and a space that is your fi rst port of call for the discovery of these fi lms and works to get their share internationally, whether at a festival or through theatrical distribution. This was a big part of the drive to set up a dedicated Arab Cinema Week. Having a dedicated week where there is a unique window to watch these fi lms, engage with the fi lmmakers, and bring people together around all of the diff erent stories in one concise and dedicated format was something that we always wanted to do. What do you look for in a fi lm in order for it to make the cut to present cinema that expands people’s frames of reference? Rabih El-Khoury: First and foremost, one has to be able to watch the fi lms. But watching a fi lm alone does not ensure that it can be part of any program. When curating a program, there are so many aspects that are taken into consideration, from the quality of the fi lm, to the general artistic direction, the theme of the festival and of course the location. The place where the event is taking place is a crucial factor when curating a program, as we need to consider whether the fi lm is relevant to the location, whether the fi lm has already been screened there, if we can create a buzz with this fi lm, and if the public will be interested in this fi lm. The interest of the audience is of course the big question, and to be able to answer that, you have to really work closely with your partner. A curator does not work alone as it is crucial to be in constant conversation with the partner to understand what works at their cinema, in their city, and for their public. What about documentaries which don’t get much theatrical distribution? Butheina Kazim: Having a fi lm week gives us the exact benefi t and advantage to show fi lms within a shorter time span that we wouldn’t be able to release in a very long period of time. The fi lm week acts as a discovery of the off ering from this year, where we get to take a chance on In the frame: Rabih El-Khoury, Programme Curator, Arab Cinema Week. In the frame: A still from Becoming, a series of five movies directed by five Saudi directors which was screened at the Arab Film Festival. THERE WAS A SIGNIFICANT GAPING HOLE THAT WAS LEFT BEHIND BY BOTH THE FILMS (THE NARRATIVE AND THEMATIC) AND THE CELEBRATION AND PARTICIPATION OF THE FILMMAKERS BEHIND THOSE STORIES. www.digitalstudiome.comNOVEMBER 2022 / 25 We’re thrilled to be presenting Feathers, the Egyptian fi lm debut of Omar El Zohairy, which is a feature that has been celebrated worldwide, while also creating controversy upon screening in Egypt. I think the fi lm is truly a very special fi lm. Having acclaimed Palestinian actor Saleh SPOTLIGHT Bakri for a masterclass about his extensive career in the Arab World was a highlight in itself, it’s not everyday that you have the chance to welcome someone like him and off er the audience the chance to get to know him better. Has the event been designed “to bring together a range of themes” for Arab stories? If yes, what are these? Rabih El-Khoury: For the purpose of this event, we focused on the topic of storytelling and what kind of stories are emerging from the Arab world today. A fi lm like The Alleys by Bassel Ghandour, for instance, is a thriller that comes from Jordan, which tells the story through a narrator that shares the events of a neighbourhood in East Amman, made of gossip, lies, and secrets. Another fi lm is Mariner of the Mountains, by Brazilian Algerian fi lmmaker Karim Ainouz. This fi lm is pure storytelling as the fi lmmaker went to Algeria for the very fi rst time to discover the In the frame: Butheina Kazim, Founder, Cinema Akil. WE AIM TO CREATE A SUSTAINABLE MODEL BY WHICH THIS FESTIVAL CAN CONTINUE TO THRIVE, GROW, CREATE INTEREST AND BECOME A RECURRING CALENDAR EVENT. What are the standout movies from the recent edition of the festival? Rabih El-Khoury: This is a very diffi cult question for me to answer because I curated this program, so of course, I am very proud of everything that was selected. This is also a panorama of new Arab cinema, with new fi lms produced over the last two years. With that said, we wanted to address the Algerian 60 years of independence from the French colonial powers, and we wanted to present Algerian cinema on the big screen here in Dubai. I am pleased that we took the decision to bring four fi lms from Algeria which are very diff erent in shape and form, as well as in their time frame. Each of the fi lms addresses a particular period of time, with diff erent contexts, and refl ects on Algeria from yesterday, today, as well as tomorrow. Another highlight of this program is the rarity for us to see fi lms from Saudi Arabia and Somalia. We have two Somali fi lms in the program; The Gravedigger’s Wife, which is the feature fi ction debut of Khadar Ayderus Ahmed, and Will My Parents Come to See Me? by Moe Harawe, a beautiful short fi lm. This is a wonderful opportunity for the public to discover the country that is Somalia, and to discover its cinema by speaking directly with the artists themselves: we were thrilled to welcome fi lmmaker Khadar Ayderus Ahmed who was with us to present his fi lm, which was his premiere in the region. In the frame: A shot from Algerian odysse, Mariner of the Mountains. www.digitalstudiome.com26 / NOVEMBER 2022SPOTLIGHT What would you still like to achieve with the fi lm festival as we move forward? Butheina Kazim: One of our key goals was to make sure that Arab Cinema Week is known as a platform for conversation and participation of the fi lmmakers. It will defi nitely be something that’s going to be central. We aim to create a sustainable model by which this festival can continue to thrive, grow, create interest, and become a recurring calendar event. I also envision a multi-city iteration of the festival. We would love for Arab Cinema Week to travel and we are working on some partnerships to be able to make that happen whether it’s in its complete form or partially. The reverberation that this festival can achieve is something that is really important to us, so we can understand how to best leverage such partnerships and bring these experiences and conversations to host spaces in cities other than Dubai. land of his father. Through this fi lm, we are embarking on a journey of self-discovery of this country, its history, its geography, its culture, and its languages. I am also particularly proud of the Shorts program as we have a multitude of stories all related to generational confl icts and dialogues, with fi lms that are emerging from Sudan, Somalia, Tunisia, the UAE, Qatar as well as Yemen. We do not only have fi ction within the shorts but also documentaries that are a refl ection of the fi lmmakers’ own relationships to their parents, their grandparents, and upbringing. Through this shorts program, it was very important to me to highlight such topics, and how directors are telling their own stories on screen. How are you ensuring diversity when it comes to the lineup of the movie’s presented? Rabih El-Khoury: Diversity is playing diff erent roles here in this program. First, we have geographical diversity, where the program is not just made out of fi lms that are coming from the usual suspect countries like Lebanon, Egypt or Tunisia. We are thrilled to be presenting fi lms that are coming from places that the public does not necessarily see the cinema from, like Somalia, with two fi lms, Yemen, and Saudi Arabia through the omnibus fi lm, Becoming. There is also a short fi lm from Sudan, Al-Sit by Suzannah Mirghani. Second, there is the representation when speaking about perspectives: we wanted to ensure that there were as many female fi lmmakers as possible. Our Shorts program has four female directors in it, and the omnibus directed by fi ve Saudi female fi lmmakers. Also there is diversity in the type of fi lms that we are screening. We wanted to ensure that the fi lms were diff erent in shape and form, between the fi ction features, the documentary features, and the short features. Mariner of the Mountains, for instance, as a fi lm is an essay fi lm, and Becoming is an omnibus THE FILM WEEK ACTS AS A DISCOVERY OF THE OFFERING FROM THIS YEAR, WHERE WE GET TO TAKE A CHANCE ON FILMS THAT WE MAY NOT HAVE THE COMMER- CIAL BANDWIDTH TO TAKE ON OUTSIDE OF THE FOCAL POINT OF A FESTIVAL. www.digitalstudiome.comNOVEMBER 2022 / 27 MARKET FOCUS taying at the forefront of technology and innovations, Dubai-born fi lm and broadcasting production house, Seven Production has a wealth of experience in working on some of the biggest events in the region. Yet again, as the company gears up to lend their expertise to the upcoming FIFA World Cup and F1, Tony Jabbour, Head of Engineering and Operations, Seven Production and Lara Ghanem, Regional Director of the company, open IN THE FAST LANE With two of the most thrilling live sporting events upon us in November, the Formula One and the highly-anticipated FIFA World Cup Qatar, Digital Studio Middle East speaks to Seven Production, the team working on both these big-ticket events to fi nd out how the team would be powering live-events of such a record-breaking scale S www.digitalstudiome.com28 / NOVEMBER 2022MARKET FOCUS contingency plans in place, to make sure that you will be able to adapt and react in a timely manner to prevent the output of your work to be disrupted. If you manage to surround yourself with great professionals and create the right company culture the results are really bound to follow.” Moving forward, Seven Production has been focussing on further beefi ng up its 4K Ultra HD technology capabilities. “We have been meeting our goals in terms of modernisation of our OB Truck fl eet.Moreover, we are quite receptive to the market demands and the needs of our customers so that we meet their expectations and continue to be the go-to place for the latest technologies in the MENA region as well as our future expansion markets,” contends Jabbour. up on the team’s work on these mega live sporting events, the task ahead of them, the prep in the run-up of the events, technologies to be leveraged, and more. As far as the FIFA World Cup goes, the team at Seven Productions is discussing multiple levels of involvement with a great deal of overseas customers and their respective national TV stations, such as Germany, for instance. “We will be sending a total of four 4K Outside Broadcast Trucks for the coverage for Germany. From a capability point of view, Qatar is a market where we are very established and that one that we are very familiar with. We can easily deploy our resources and cater to any broadcasting needs. Moreover, we are looking forward to being part of this great event and to have it so close to home. Needless to say, we are capable of doing events of this scale anywhere in the MENA region using our cutting-edge in-house technical resources,” shares Ghanem. For Formula 1 the team’s approach and focus is slightly diff erent. “F1 is one of the most technologically advanced events in the world, from the cars to the venues, the broadcasting, etc. Cutting edge technology is everywhere you look. With that said, our position has always been to stay humble, don’t try to reinvent the wheel, use this great opportunity to rub shoulders with the best in the world and add value by using our experience and knowledge of the MENA market and culture in order to give the MBC viewers the best experience possible,” asserts Jabbour. He reveals that the team at Seven leverages new equipment that is ideal for such large-scale production, the all-new broadcast Flyaway pod, the fi rst of its kind in the production facility in the region that can be set-up in even the most inaccessible locations with a competitive advantage of being transported easily by land, air, or even the sea. Meanwhile Ghanem notes that since live events are an industry with many moving parts, it is crucial to have the ability to plan and prepare for all types of adversity. “In the vast majority of the world class live events there are many stakeholders involved as well as a great deal of factors that are beyond our control. It is almost a given that things will not go 100% according to plan, so you need to have the right In the frame: 7production’s 4K Ultra HD technology which is leveraged for large-scale live events. WE WILL BE SENDING A TOTAL OF FOUR 4K OUTSIDE BROADCAST TRUCKS FOR THE QATAR WORLDCUP COVERAGE FOR GERMANY. www.digitalstudiome.comNOVEMBER 2022 / 29 Next >