A still from ‘Aïcha’ by Mehdi Barsaoui, courtesy of The Party Film Sales
This year there are 12 Doha Film Institute supported films in the lineup on the Lido, plus the DFI is hosting a special afternoon and even a gala dinner celebrating their achievements in the world of cinema and art.
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A still from ‘Salted Skins’ by Nicolas Fattouh, courtesy of the DFI
It’s all in a week’s work for the Doha Film Institute, the greatest cinematic organization in the MENA region.
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A still from ‘The Girl with the Needle’, courtesy of the Festival de Cannes
There is a trick to this festival. If you stand still long enough in Cannes — something a bit difficult to do on a weekend as crowds are bustling all around you — you’ll run into everyone who is anyone in the film universe.
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A still from ‘The land was well past its zenith’ by Rita Mahfouz
Plus actress and producer Toni Colette, is confirmed as the sixth 2024 Master for the upcoming tenth anniversary edition of the industry incubator and the participating projects are announced.
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Plus Atom Egoyan fresh from the Berlinale and Academy Award nominated sound designer Martín Hernández, all to give Masterclasses while in Qatar.
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A still from ‘Mornings in Jenin’, a series project participating in this year’s Qumra event
For film insiders the Qumra event — held once a year in Doha, Qatar and bringing together industry experts and filmmakers from all over the world — was always a highly anticipated time to put on our calendars. But in the age of pandemic, where we need all the inspiration we can get to simply continue onward, Qumra has become a lifeline.
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Katara Opera House on the opening night of Ajyal Film Festival in Doha, Qatar
This year, the Doha Film Institute has managed to put together a hybrid online and in person (for Qatari residents only) version of its annual Ajyal Film Festival dedicated to young audience and there was even a red carpet last night and an opening ceremony. I’m sharing the video of the latter below.
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A still from Iran’s submission to the Oscars, ‘Sun Children’ by Majid Majidi
I’ve long been a fan of everything that the Doha Film Institute has to offer. Their Qumra event is a phenomenal way to witness how filmmakers go about constructing their films, from pre-production to grants and securing funding to finish their projects. For a culture journalist, it’s a valuable way to experience, quite literally, how cinema is made.
But personally, the event that remains near and dear to my heart is always the Ajyal Film Festival.
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A still from ‘Family Romance, Llc’ by Werner Herzog
In ‘Family Romance, Llc’ Werner Herzog finds a new way to work through the difficulties life throws our way — outsource them to an agency specializing in family connections. He does it with his usual flair for our human ridiculousness and making the impossible seem real. During the junket following the screening, I loved listening to my esteemed colleagues’ confused explanations of stories they thought they’d seen like this one in documentaries, or even completely convinced this was a reality film, instead of fiction. And Herzog himself quite perfectly, calmly and smoothly shooting down each and all of their perplexed ideas.
‘Family Romance, Llc’ was a Special Screening at this year’s Festival de Cannes.
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A still from ‘Femmetasia’ by Mouhssine El Badaoui
The yearly, five days long Qumra event in Qatar, held by the Doha Film Institute each March is that rare occasion for those of us who write about cinema to connect with the filmmakers, producers, film programmers, sales agents and festival directors who make the magic happen. Don’t misunderstand me now, I think film journalists and bloggers are equally to praise or blame for great movies being made. Our collective word, the reviews and interviews we manage to sell to publications or feature on our blogs, can create a movement that reverberates around the world. I know colleagues who pride themselves on making or breaking someone’s career. It’s not nice, but it is true. Take the case of Gianfranco Rosi’s ‘Below Sea Level’ and the infamous Variety review that ensured the film never made it to a cinema near you — a fact the filmmaker mentioned in his Masterclass at last year’s Qumra.
That said, in Doha there is a great energy created by the powers that be of the DFI, which allows journalists to relate to the film projects in such a personal way that it’s impossible thereafter to dislike it or even ignore it.
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A still from Hamida Issa’s ‘Places of the Soul’
On my last day in Doha, I spend the afternoon wandering around the Souq Waqif which I learned from a local filmmaker, literally translates as “the stand up souk.” In the olden days, before Qatar turned into the international, cosmopolitan country it is today, the sea would come straight into the alleys of the souk so the merchants had to stand up and pick up their wares during the tides. Thus the name, and actually while I wandered around checking out the shops, having a shawl sewn from a traditional flower fabric by a local tailor while drinking a karak chai (cardamon infused milky tea) and eating a chapatti flat bread filled with zaatar, I felt like I was transported back to those early days of the pearl divers and their haunting songs of the sea.
Doha is special place. I’ll never get tired of saying it. And their annual Qumra event, organized by the Doha Film Institute is sheer cinematic magic. Qumra is a meeting place, a five-days long networking session, a place to pitch, secure financing and ensure a screening chance for film projects. But it is also an occasion to recharge our collective passion for the movies. For journalists, producers and of course filmmakers, the atmosphere at Qumra offers an almost electric energy, a jolt of renewed hope in the future of the 7th art.
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Eugenio Caballero talks with Richard Peña during Qumra
When I look at the title of this piece, I feel overwhelmed myself. I mean, it would be pretty wonderful to just hear one of the these two men who are such Maestros in each of their professions give a Masterclass. But when you get them both, within 24 hours of each other, on a stage, talking to the equally wondrous Richard Peña, well, you have cinematic magic.
Or more precisely, what you have is the Doha Film Institute’s annual Qumra event.
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It is obvious from the moment one steps on a Qatar Airways aircraft that cinema is important in Doha. I mean, just going through the entertainment system on my particular flight, I found ‘Rebecca’ by Hitchcock, Barry Jenkins’ hauntingly touching and all too true ‘If Beale Street Could Talk’, Paul Dano’s intimate portrayal of a family struggling to remain a single nucleus ‘Wildlife’ and even the 2019 Best Picture Oscar winner ‘Green Book’.
Qatar knows good cinema and nowhere is that better understood than in the welcoming arms of the Doha Film Institute.
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As I flew over to Milan to reach Locarno then by car over the Alps, I watched 'The Gospel According to André' on the plane -- the documentary about the grand fashion figure that is André Leon Talley. It was a perfect way to dive into the Locarno Festival since Talley's life has been all about courage and bold choices and this year's film festival is channeling that spirit exactly.
Also, as a woman I find solace at an event that kicks off with a press release announcing their commitment to sign the Programming Pledge for Parity and Inclusion in Cinema Festivals for parity and equality in the industry. Locarno will be the first festival after Cannes to commit to this pledge. So on August 5th at 9.45 a.m. Marco Solari, Locarno Festival President and Carla Speziali, Locarno Festival Vice President, will gather at the Spazio Forum to publicly and officially sign the initiative by SWAN, the Swiss Women’s Audiovisual Network, a sister movement to the French 5050x2020 campaign that took place on the steps of the Palais this May 2018 during the Cannes Film Festival.
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The Poster for Nadine Labaki's 'Capharnaum' - Photo by Fares Sokhn
Best selling author R.A. Salvatore once wrote "It is better, I think, to grab at the stars than to sit flustered because you know you cannot reach them." In all they do, and how they unrelentingly and tirelessly support filmmakers, the Doha Film Institute folks prove time and time again that they are grabbing at the stars, not sitting by, flustered.
After having been to Qumra this past spring, I can't imagine the Arab cinema landscape without the presence of DFI. In fact, even after the Dubai International Film Festival called off its 2018 edition, because of DFI's mission I remain hopeful for the future of cinema in and from the Region, and I know I'm not the only one to feel that way.
This year, in fact, in Cannes there are six DFI-supported films. In the main Competition, there are Nadine Labaki's 'Capharnaüm' -- check out my interview with the filmmaker in The National newspaper -- and Nuri Bilge Ceylan’s 'The Wild Pear Tree'; ''Sofia' by Meryem Benm’Barek and 'Long Day’s Journey Into Night' by Gan Bi are screening in Un Certain Regard; and in the Directors' Fortnight sidebar audiences will find both 'Weldi' by Mohamed Ben Attia and 'The Load' by Ognjen Glavonić. So, if you thought that DFI was only about cinema from MENA think again!
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Elia Suleiman, photo courtesy of the Doha Film Institute
They say if you want to learn about something, go to the source.
For filmmakers in the Middle East, but also around the world, Elia Suleiman has long been the Oracle, the man with a knowledge to create momentous cinema, cinema that can change the world. Suleiman is the most brilliant source today of modern Arab cinema, the kind that breaks across borders and tears down the divide -- as his frequent trips to international film festivals and award ceremonies have proved.
So I thought, if it works for filmmakers, it could work for me. I shall ask Suleiman about Qumra myself, so I can unravel the mystery of this yearly event held in Qatar, under the auspices of the Doha Film Institute. I mean, the DFI has been very open and forthcoming about their week-long-mentorship-slash-industry-meet-and-greet-slash-film-connection event, but I still hadn't found a fascinating enough explanation of it in the media. One that would hold my attention and really explain the ins and out of Qumra.
Until I met Suleiman, DFI's Artistic Advisor and Hanaa Issa, Deputy Director of Qumra and Director of Strategy and Development at Doha Film Institute during Berlinale. One Sunday morning in Berlin, a leisurely breakfast talk later and now eagerly anticipating the start of Qumra in Doha, I finally understand.
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Tilda Swinton photographed by Brigitte Lacombe
Qatar is the couture state of the Arab world. They watched and learned from the mistakes of all the other Gulf countries that were declared as states before them, and then Qatar set about to reinvent how we view culture, fashion, art and film. You can't watch an award ceremony these days without the presence for the Doha Film Institute in the credits of at least one of the films nominated, the Museum Authority of the peninsular state has assembled and created, and is set to unveil more beauty than my eyes can hold -- just a visit to the Islamic Art Museum will confirm my words -- and of course, the Emir's family owns some of the fashion world's most beloved brands.
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