BAFTA Goes To The Arab World - Area of Focus

25 June 08

BAFTA's celebration of Arab cinema on 11-14 July focuses on eight countries each producing unique contributions to the global film industry.

1. Morocco
Thanks in part to the efforts of King Mohammed, a self-confessed cinephile, Morocco has attracted many high-profile directors - from Ridley Scott to Paul Greengrass - to come and film in the country. As for its own local filmmakers, the likes of Nabil Ayouch (Whatever Lola Wants), have made concerted efforts to support and bolster young directors in the country while pursuing their own increasingly international careers. The Marrakech International Film Festival, held annually, also offers a valuable forum for cultural exchange between Moroccan and foreign filmmakers.

2. Algeria
As the only Arab country that can boast a Palme d’Or, thanks to Mohammed Lakhdar Hamina’s The Chronicles Of The Years Of Fire (1975), Algerian cinema can hold its head up high. A recent history that includes the ripple effect of a brutal civil war waged between the government and Islamist forces for much of the 90s, however, has hindered its film industry. Things are improving, though, with the likes of Djamila Sahraoui’s award-winning road movie Barakat! signalling a vibrant new cinematic voice.

3. Tunisia
A moderate, progressive Arab country which has largely avoided the social and political unrest that has blighted so many others in the region, Tunisia is well-placed to emerge with a distinctive cinematic voice. Films such as Nouri Bouzid’s Clay Dolls and Moufida Tlatli’s The Silence Of The Palace have already enjoyed critical and commercial success at home and abroad. A dynamic generation of new filmmakers such as Elyes Baccar (She & He) are also comfortable tackling subject matters dealing with sexuality and other taboos.

4. Egypt
In its heyday of the 50s and 60s, Egyptian cinema was ranked only behind Hollywood and Bollywood in terms of the number of productions. While it suffered a slump in quality and quantity in the last two decades - not helped by economic and political stagnation through the 80s and 90s - there are strong signs of its resurgence. The Yacoubian Building (2006) has helped spur on a renaissance of more sophisticated adult fare such as Ibrahim El-Batout’s Eye Of The Sun.

5. Palestine
While the Palestinians continue to struggle in their attempts to achieve statehood and reach a lasting peace with Israel, Palestinian filmmakers have enjoyed remarkable success internationally for much of the last decade. Since the first Palestinian feature film was made - generally recognised to be Michel Khleifi’s 1987 Wedding In Galilee - the likes of Elia Suleiman (Divine Intervention) and Hany Abu-Assad (Paradise Now) have eloquently and artfully captured the elusive existence of a people rendered homeless on their own land.

6. Lebanon
Lebanon’s vibrant cultural scene has translated to the big screen through filmmakers such as Ziad Doueiri (West Beirut) and Nadine Labaki (Caramel) delivering cross-over hits with commercial appeal and cultural integrity. For all the undoubted glamour of Lebanese high society, the country has remained bedevilled by the effects of the Lebanese civil war between 1975-1990 and the ongoing Arab-Israeli conflict, as seen in 2006 with the 33 day long war with Israel, the aftermath of which was captured hauntingly in Philippe Aractingi’s Under The Bombs.

7. Syria
Syria remains, in many ways, a sleeping giant of Arab filmmaking and culture. Though its cultural influence pervades - just as its political influence does - through much of the Arab world, Syria has yet to replicate the success of its powerhouse TV industry in the film world. While heavy state control remains an everyday factor for many Syrian directors, it hasn’t stopped interesting cinematic voices such as Mohammed Malas, Omar Amiralay and Abdullatif Abdulhamid from emerging out of the country.

8. Iraq
For reasons all too obvious, filmmaking in Iraq has suffered for much of the last three decades. From pro-Saddam Hussein propaganda of the 80s to near-total collapse during the United Nations sanctions of the 90s, and a virtual standstill after the 2003 invasion by coalition forces, Iraq’s film industry is - like the country itself - re-building in the midst of war. Mohammed Al-Daradji’s Ahlaam as well as a powerful series of shorts by aspiring Iraqi filmmakers suggests that a talented group of creatives are awaiting the opportunity to blossom.