The panel discussion “Rising Arab Cinema: From Local to Global” commenced this afternoon at the Open-Air Theater of the Cairo Opera House, as part of the 46th Cairo International Film Festival.
The session was moderated by critic Mohamed Hilal, with the participation of actor Ahmed Malek, filmmakers Arab and Tarzan Nasser, festival director Sara Mansanit Royo, and industry expert Alaa Karkouti.
Actor Ahmed Malek expressed his pride in speaking at CIFF, saying: “I’m proud to be here. I took part in Egyptian films that screened at major international festivals and received global offers. At the time, I wanted to do everything, but now my priorities have changed. What matters most is making films here in my country, Egypt.”
Malek emphasized that “international recognition” is not his primary concern: “It’s a beautiful feeling when a story from your country reaches international festivals. Clash screened at Cannes, and I worked abroad and at home; both experiences were valuable. But when you return home, nothing should distract you. I’m not dazzled by being ‘global.’ What matters is making meaningful work.”
He added that every artist should stay rooted in their environment: “An artist must understand their society intelligently, not confrontationally. The roles I choose now are based on what I want to say as a young person. Ultimately, the work I present comes from my own human experience.”
On the subject of creative freedom, Malek noted: “Even the United States and the rest of the world have limitations. In the end, it’s about the work you make and how you present your own experience. The human experience is what matters most and that is my first and last battlefield with the audience.”
He recalled advice from screen legend Adel Imam that still echoes in his mind: “He always said he felt deep responsibility toward his people and the society he came from, toward the audience, their desires, and what you offer them.”
Palestinian filmmaker Tarzan Nasser highlighted the universality of cinema: “Cinema is first an industry, then an art. The entire world takes part in it. It is a very important industry.”
His brother, filmmaker Arab Nasser, argued that the concept of “international cinema” is often misunderstood: “The idea of ‘global’ exists only in Egypt. Globality begins with craft: a well-written script and strong performances.”
He explained their artistic motivation: “Mahmoud Darwish chose to be a poet from Palestine. We chose to be filmmakers from Palestine. Our decision to focus on Gaza comes from a longing to portray the human being there. Politics is secondary, understand the human, and you’ll understand their struggle.”
Tarzan added firmly that they refuse external influence over their artistic choices:
“We reject European funding for all our projects because we make works we truly believe in and trust.”
Arab Nasser also tackled the media’s portrayal of Gaza: “Some audiences expect to see Gaza in a stereotypical way. But we focus on the real human being living there. Media often reduces people to numbers, to casualties. We want to bring viewers closer to social life in Gaza.”
On what makes a film “global,” he said: “A film becomes global when it travels beyond its borders and reaches another audience in another country.”
During the discussion, Sara Mansanit Royo, director of the Mostra de València – Cinema del Mediterrani, highlighted the cultural significance of Arab cinema: “As a programmer working across multiple fields, I see many aspects of the Arab world that we in Europe cannot fully see or understand. Arab cities reveal a truth about this part of the Mediterranean that news and media never show us.”
She added that Arab filmmakers play a crucial role in shaping global understanding: “You are creating deeply important work—films that help audiences truly understand the world with honesty and depth.”
Royo spoke about her festival’s recent focus on Mediterranean cinema: “This year we concentrated on editing, and as a programming team we wanted to bring to our Spanish audiences a sense of life across the Mediterranean. Life changes dramatically from Italy to Tunisia to Egypt. It sometimes feels like completely different worlds.”
She emphasized her passion for cinema and storytelling: “For us, films are not just screenings, they are full human experiences. We try to share these stories with our audience, and we’ve seen how warmly they receive them.”
She highlighted the growing interest in Mediterranean films, mentioning the Egyptian film Aisha Can’t Fly as an example.
“These festivals open essential doors—not only in Spain but worldwide. They bring audiences that truly appreciate bold, open, expansive cinema.”
The panel, driven by critic Mohamed Hilal, offered rich reflections on the evolving landscape of Arab cinema and its potential to transcend borders.
The speakers exchanged insights on storytelling, funding challenges, the rise of streaming platforms, and what it truly means for a film to be “global.”
Together, they painted a picture of an industry in motion, one grounded in local identity yet increasingly capable of reaching international audiences through bold, human-centered stories.
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