The Arab cinema has found itself in the spotlight on the prestigious red carpet of the Cannes Film Festival. While the name Casablanca has long been associated with classic Hollywood romance, this year’s festival aims to challenge those preconceptions with two captivating Moroccan films set in the city itself. Kamal Lazraq’s “Hounds” takes viewers on a whimsical journey, intertwining a simple yet darkly comedic story that leaves a lasting impression. Equally surreal is “The Mother of All Lies” by Asmae El Moudir, a film that delves into the director’s personal quest to uncover the secrets of her lost childhood by reconstructing a replica of Casablanca.
The red carpet at Cannes is not merely a glamorous showcase for established stars; it is also an artistic battlefield that can define the destiny of film crews. In recent years, Arab films and filmmakers have made a significant impact at the world’s cinema, utilizing the abundant talents of the region. However, 2023 stands as the pinnacle of Arab cinema’s presence at Cannes.
Among the noteworthy Arab films is “Inshallah A Boy” by Jordanian director Amjad Al-Rasheed. This compelling work follows the journey of a young mother and her daughter as they fight for their home and inheritance following the husband’s death. Arab cinema, in its renaissance, offers a unique lens through which to explore the complexities of the Arab world, delving into love, family, religion, social issues, and politics with an accurate and profound understanding. These films disclose the region’s secrets and forge emotional connections with audiences, while their mesmerizing visual aesthetics add another layer of fascination to the narratives.
Jordan and Sudan also mark their first-ever participation at Cannes, contributing films with captivating narratives. “Goodbye Julia” by Mohammad Kordofani portrays the story of a female singer burdened by sin, seeking forgiveness. Meanwhile, Tunisian director Kaouther Ben Hania, known for the critically acclaimed “The Man Who Sold His Skin,” competes with “Four Daughters,” a feminist film that follows a mother and her four daughters caught up in extremist ideologies amidst the presence of ISIS. Furthermore, the Senegalese film “Banel & Adama” stands out in the competition section, supported by the Saudi Red Sea Film Foundation. The foundation’s presence is felt even in the opening film of the festival, “Jean de Barry” by French director Maiwenn, starring Johnny Depp.
Arab filmmakers make their mark in various sections of the 2023 Cannes Festival with films such as “Omar la Fraise” by Elias Belkeddar and “The Nature of Love” by Monia Chokri.
However, this year’s festival lacks Iran’s official representation, as both Russia and Iran have been banned due to their anti-human rights actions. Although Iran has traditionally had a strong presence at the Berlin Film Festival, the Farabi Foundation’s absence at the Cannes market signals a shift. The sole Iranian film showcased, “Ayehaye Zamini,” co-produced by Ali Asgari and Alireza Khatami, explores the daily struggles of Iranians in the aftermath of the Mahsa Amini’s revolution. This underground and unlicensed production provides a biographical account of a totalitarian system seeking complete control.