Introduction to Arabic Cinema
With the large number of Arabic films that go to various international festivals, it is natural to wonder whether Arabic cinema has become global or if an Arab director has become universal after having their film shown in competition or outside of competition at a major festival.
The Success of Arabic Films
Some are ready to confirm that this is a testament to the universality of Arabic cinema, including the Oscars, in an Arab film and its director, an international festival or an annual occasion. When checking Arabic films from all producing countries that have been shown in an international festival or other platforms since the beginning of this century, it is necessary to admit that the efforts of Arabic film directors to show their films in these forums have led to actual success.
International Recognition
The festivals mentioned above, in addition to other basic festivals such as "Sandans", "Rotterdam", "London", "Carlovi Gary", "Palm Springs", and "Toronto", have been attended by Arab directors from the years before the current century. We talk about the films by Haifa Al-Mansour, Nadine Labaki, Muhammad Rashad, Abu Bakr Shawky, Rashid Mashrawi, Maryam Tuzani, Kawthar Bin Haniyeh, Hala Al-Qusi, Jilan on, Muhammad Al-Daraji, Amjad Al-Rashid, and many others. Each of these has shown films on more than one international opportunity, and some of them have been awarded.
Notable Achievements
The victory of the Saudi director Tawfiq al-Zaidi in the first prize in the "Look" section at the Cannes Festival last year had a great positive impact on the producer and the director. The same situation applies to the success of the Egyptian director Mohamed Diab in the demonstration of his film "Clash" in "Can" in 2016. In 2018, Abu Bakr Shawky presented his film "Day of DIN" in the same forum and pointed out the birth of a remarkable director. Nadine Labaki was with the film "Kfarahum" in "Kan" in the same year, and at the time it seemed that the Arab cinema came out of the world into the world.
Definition of Globalization
However, the actual world is an open word with different aspects. "It was undoubtedly other international forums, but are all films that show, Arabic or strange, automatically globally or transform its directors into worlds? Are there not many filmmakers who have entered and left festivals, just as they have no presence? What about the commercial market? Is the commercial show of an Arab film not really global? And who is the "universal or two": Festival or marketing bans in Europe or America?
The Key to Success
If the world is one of the two festivals and another is one of the markets, the optimal global film will be successful in both areas. This is the case of three Arab women’s edition films shown in festivals, and then the advertising exhibitions were quickly received and profit. These are: Nadine Labaki (about "Kfarahum"), Haifa al-Mansour ("Oujda"), and Kawthar bin Haniyeh ("The man who sells his skin"). Each of these films sold plenty of tickets in European, American, and Asian parts.
Attracting Audiences
Do female outputs have attractions that were not unbearable? Nadine Labaki’s topic on the misery of a social situation that was decorated with veiled and clear blows against this society. The topic of Haifa al-Mansour was for the ambition, hope, and the difficult situation that the woman lived in a predecessor. And the topic of Kawthar bin Haniyeh on the authority of an Arab from Syria who accepted a deal in which he sells his back to a painter to support him as if it were a painting.
Conclusion
We can only admit that two former Arab directors, such as Mustafa Al-Kad, Michel Khalifi, and Reda al-Bahi, have already told several successes in the past two decades of the last century. It must also be said that some of the directors of men and women have witnessed the presentation of films for them in one or two European markets according to previous performances in the main festivals and that the selected topic is a topic that plays its role, as is new and far from direct speech as the possibility of double the possibilities of different offers. Part of the problem is that the films that are exposed to the tragedies of a home, the misery of a social situation here or the consequences of a war quickly lose its fuel.
