Global film finance and local finance also discussed at DTFF panel.
As the Doha Tribeca Film Festival continues, the Doha Film Institute has announced that 27 grants have been given as part of its autumn funding session.
The projects backed are by emerging and established Arab filmmakers, with works from Algeria, Egypt, Jordan, Iraq, Lebanon, Morocco and Syria.
The grants went to 11 features, 5 shorts, 9 feature documentaries and 2 experimental features — chosen from a record 211 applications.
DFI CEO Abdulaziz Al-Khater, said: “One of DFI’s main goals is to support and facilitate filmmakers from the MENA region in getting their films made and their stories heard. Many of these stories are reflective of the social andpolitical changes happening in our region and show the unique power of film as a medium to express this. We’re really encouraged by the breadth and depth of submissions from this session and as we continue to fine-tune our MENA Grants process, we will ensure we can support an even more dynamic slate in the future.”
Paul Miller, Head of Film Financing at DFI, added: “The MENA grants were established to help first and second time filmmakers gain financing and to help more established filmmakers get support for artistic works which might otherwise struggle tosecure funding. Our 27 grantees are a blend of new and established filmmakers and they really depict the passion and determination of filmmakers in this region to tell their own authentic stories - from black comedies to political events, family dramas and changing societies. Their projects really give us a compelling taste of modern storytelling in this region.”
The spring 2013 funding session, to be revealed at Cannes 2013, is open for applications from late December.
Doha Film Institute Autumn 2012 Funding Grants
FEATURE NARRATIVE - DEVELOPMENT GRANTS
The Bastard by Uda Benyamina (Morocco, France)
Marjoun and the Flying Headscarf by Susan Youssef (Lebanon, US)
Me, Myself and Murdoch by Yahya Alabdallah (Jordan, Palestine)
Red Valentine by Amin Matalqa (Jordan, US)
Wooden Rifle by Alfouz Tanjour (Syria)
FEATURE NARRATIVE - PRODUCTION GRANTS
Ali, The Goat and Ibrahim by Ibrahim El Batout (Egypt, France, Germany)
Memories on Stone by Shawkat Amin Korki (Iraq, Australia, Germany, Sweden)
Pillow Secrets by Jillali Ferhati (Morocco)
Terraces by Merzak Allouache (Algeria)
The Valley by Ghassan Salhab (Lebanon)
POST PRODUCTION GRANTS
Die Welt by Karim Alexander Pitstra (Tunisia, Netherlands, Russia)
SHORT NARRATIVE - PRODUCTION GRANTS
Selma by Mohamed Ben Attia (Tunisia)
The Desert Fish by Alaa Eddine Aljem, (Morocco, France, Belgium)
The Third Hand by Hicham Elladdaqi (Morocco, France)
SHORT NARRATIVE - POST PRODUCTION GRANTS
Ismail by Nora Alsharif (Jordan, Lebanon, Palestine)
Though I Know The River Is Dry by Omar Hamilton (Egypt, Palestine)
FEATURE DOCUMENTARY - DEVELOPMENT GRANTS
Gaddafi’s Girls by Sylvia Stevens (Libya, UK)
The First Supper by Jamal Khalaile and Pauline Carbonnier (Palestine, France)
FEATURE DOCUMENTARY - PRODUCTION GRANTS
A Djelfa-Dweller’s Dreams by David Yon (Morocco, Algeria, France)
Egypt’s Modern Pharaohs by Jihan El Tahri (Egypt, France, US)
Stars and Extras by Marwa Astanios (Lebanon, Egypt)
What Comes Around by Reem Saleh (Lebanon, Egypt, UAE)
FEATURE DOCUMENTARY - POST PRODUCTION GRANTS
Democracy Year Zero by Amira Chebli and Christophe Cotteret (Tunisia, Belgium, France)
Somebody Clap For Me by Luciana Farah (Qatar, Brazil, Uganda, US)
Waves by Ahmed Nour (Egypt, Morocco)
FEATURE EXPERIMENTAL - DEVELOPMENT GRANTS
Dancing Beirut by Alia Hamdan (Lebanon)
FEATURE EXPERIMENTAL - PROD/POST-PRODUCTION GRANTS
I Sold My Land by Reine Mitri (Lebanon)
Meanwhile, overall investment strategies in the global film industry were a topic for a panel at the festival chaired by DFI’s Paul Miller and financing expert Hal Sadoff.
In opening remarks, H.E. Sheikh Hamad Bin Faisal Bin Thani Al-Thani, one of Qatar’s most influential business figures and Chairman and Managing Director of al khaliji, said: “There is a deep interest in cinema and the development of the film industry in Qatar. DFI is fulfilling the vision of developing a local film culture,” he said.
DFI CEO Abdulaziz Al-Khater noted: “DFI is focused on working with partners from across the spectrum of creative industries to help build a sustainable film industry in Qatar. This is about revitalising the cultural story of the Middle East and Arab world. Cinema is a powerful platform for telling stories, and through our financing initiatives we are extending our support to the regional talent.”
Paul Miller, head of film financing for DFI added: “This is about understanding and realising the film industry as potentially lucrative and a business to invest in. DFI cannot fulfil its mission alone without the support of financiers, banks and lawyers. Together we can help shape the Doha film industry.”
Panelists also included K5’s Oliver Simon, Coutts’ Judith Chan, Film Finances Inc president Kurt Wollner, Fintage House’s Robert Aarts, and Pathe deputy MD Pierre du Plessis.