The selection or rejection of films at festivals often ignites heated discussions about quality and artistic merit. However, as professionals in the industry clarify, these decisions frequently hinge on factors beyond a film’s intrinsic value, such as programming balance and audience alignment. This topic was explored in depth during the panel “Film Festivals Decoded: What Happens After You Press Submit?” at the 13th Sharjah International Film Festival for Children and Youth in the UAE.
Programming Priorities and Artistic Quality
Panel participants Rosh Abdelfattah, artistic director of the Rotterdam Arab Film Festival, and Mohamed Mahmoud, president of the Alexandria International Short Film Festival, shared insights into the complex factors influencing their selection decisions. According to Abdelfattah, artistic quality is just one piece of the puzzle. His festival aims to represent diverse cinematic voices from across the Arab world, and the quantity of films produced by different countries often plays a role in this process.
“If I have a film from Sudan or a film from Egypt and they have the same level of artistic quality, I give the film from Sudan the opportunity and the stage,” Abdelfattah explains, noting that Egypt produces significantly more films than Sudan. He is also vigilant about the homogenization of films that can result from various development programs, suggesting that filmmakers need to remain steadfast in protecting their unique visions. “You have to be very, very strong to protect your vision,” he warns, acknowledging the difficulties filmmakers face in the current landscape.
The Importance of Audience and Alignment
Mahmoud raises an additional concern about submission practices: filmmakers often fail to properly align their work with the appropriate festival. He argues that it’s critical for filmmakers to understand the thematic focus of the festivals to which they submit. “A film that explores social issues might be submitted to a festival that focuses primarily on environmental themes or the natural world,” he notes, questioning the rationale behind such decisions.
As a result, establishing a solid distribution strategy has become essential for filmmakers. Mahmoud states, “I believe that film distribution has become just as important as editing, cinematography, production, and directing.” He emphasizes the necessity of considering a festival’s programming priorities and audience demographics before submitting films. Filmmakers should not merely submit their work widely but should tailor their submissions to festivals that genuinely resonate with their film’s subject and message.
Avoiding Common Pitfalls
Upon identifying the right festival, Mahmoud warns of basic errors that can derail submissions. Misunderstanding competition categories, failing to complete required information, or not adhering to eligibility dates can lead to rejection. “Filmmakers should carefully review the festival’s rules and requirements before submitting,” he advises.
Mahmoud underscores a crucial point: “A film being accepted into a festival does not necessarily mean that it is a good film, nor does it mean that it is the best. Conversely, a film being rejected does not mean that it lacks quality or artistic value.” This perspective is particularly significant in relation to the Rotterdam Arab Film Festival, which predominantly curates content from Arab festivals rather than major European festivals like Cannes, Berlin, or Venice.
Understanding Cultural Nuances
Abdelfattah also emphasizes the rich diversity within Arab cinema itself, asserting there is no single narrative. “The films from the Maghreb are different from films from Egypt,” he asserts, highlighting the distinct cinematic evolutions in countries like Morocco, Egypt, and Lebanon. This difference is essential for a festival that serves both Arab and Dutch audiences, as he notes comedic elements can elicit varied responses from each group. He recalls an instance where different halves of the audience reacted to various jokes, illustrating this cultural complexity.
The Subjectivity of Film Evaluation
For Palestinian-Jordanian filmmaker Darin J. Sallam, who is also a member of the festival’s narrative feature jury, the selection process is deeply subjective. “Evaluating films is ultimately a subjective process shaped by individual perspectives and sensibilities,” she remarks. In her judging criteria, she prioritizes emotional resonance over technical skill. “It’s about how these ideas were treated by their filmmakers and how they made us feel as jury members,” she elaborates, highlighting a film’s lasting impact on its audience as a measure of its success.
As film festivals like those in Rotterdam and Alexandria continue to shape the cinematic landscape, it is crucial for both filmmakers and audiences to understand the multifaceted nature of film selection. The conversations surrounding these decisions reflect broader themes of cultural identity, artistic expression, and the importance of community engagement within the film industry.
