At the 46th edition of the Cairo Intl. Film Festival, programmers from some of the world’s leading festivals are finding something they rarely encounter elsewhere on the circuit: a festival where the energy in the market mirrors the energy in theaters. As regional co-production models expand and the Cairo Film Connection strengthens the festival’s profile as a project incubator, Cairo is emerging as a key site not only for discovering new voices but also for understanding what matters to Arab filmmakers right now.
This year’s expanded Cairo Film Connection, held as part of Cairo Industry Days, signals the festival’s growing weight as a regional hub. With financing structures shifting across Middle East and North Africa and more funds opening conversations with local producers, programmers are watching how Cairo’s evolving market ecosystem could shape the films that eventually land in Europe and beyond. For filmmaker/writer-director Anas Sareen (“The Gods”), Berlinale Generation programmer and CIFF short-film juror, the opportunity lies in the next wave of filmmakers rising through these pipelines. “These structures push emerging filmmakers forward,” he notes, adding that what resonates most is meeting filmmakers “whose sincerity shows in the work.”
Céline Routan, director of programming at Palm Springs ShortFest and a NETPAC juror in Cairo, whose background includes programming roles within SXSW, IDFA and TIFF ShortCuts, views Cairo’s industry expansion as part of a broader regional realignment. The shift, she emphasizes, is not only financial. “It’s important for filmmakers to rely on partners from the region,” she explains. “When producers share the same context, the collaboration starts from a place of understanding.”
If the industry draws programmers in, it’s Cairo’s audience that defines the festival’s character. Both Sareen and Routan point to something that sets CIFF apart from Doha, Red Sea and other major regional festivals: a deeply invested local audience that fills screenings.
“Every seat is filled,” Routan notes. “You don’t come here to play to an empty room. Cairo audiences go to the movies, they react, they debate. It really matters to them.”
Watching films with an Egyptian audience, Routan adds, reveals narrative nuances that may not surface elsewhere. The ideal film, as she frames it, is authentic to its own world while still allowing international audiences a way in, not designed for Western gatekeepers but not shutting them out either.
Sareen, attending Cairo for the first time, feels the distinction begins with the city itself. “Cairo is cinema,” he reflects. “Everywhere you look feels like the beginning of a story.” The city’s cinematic lineage, from its foundational role in Arab filmmaking to figures like Youssef Chahine, continues to shape how programmers engage with the films presented today. Cairo’s longevity as the region’s oldest FIAPF-accredited festival, he adds, brings an institutional memory newer festivals can’t duplicate. “It has managed to position itself as a leading place over many years.”
That foundation now meets a generational shift. Routan points to a rise in films by women and Gen Z directors, reflecting changes in training, access and regional funding. More notable to her is a confidence among filmmakers telling stories intended first for local audiences rather than optimizing for international palatability. “More films are unapologetically themselves,” she notes.
Some of that confidence is already visible in this year’s lineup. Routan points to shorts like “First the Blush Then the Habit,” the kind of film she’s eyeing for Palm Springs, for its precision and strong sense of voice. On the feature side, she points to “Flana,” by Iraqi filmmaker Zahraa Ghandour, which has already screened in Toronto and IDFA, as part of a wave of well-crafted regional films moving fluidly between Arab and international festivals.
Sareen sees a parallel movement among diaspora filmmakers reconnecting with the region. Many, he observes, are returning with new perspectives shaped by displacement or migration. “There’s a generation trying to shed new light on our cultures,” he notes, pointing to an emerging pan-Arab filmmaking sensibility he finds particularly exciting.
Some themes, however, remain unavoidable. “It’s impossible not to talk about Palestine,” Sareen reflects. “It’s a responsibility filmmakers feel, and they’re proud to take it on.” Conflicts in Sudan and across the region carry similar weight. Politics, he emphasizes, is not a branding device for Arab cinema but a lived reality that inevitably informs the work. Yet filmmakers are equally intent on not being defined solely by it.
Short films often register these tensions most quickly. With their rapid production timeline, Routan views shorts as a sharper pulse of the moment: “They reflect the state of the world faster than features,” she emphasizes. But urgency alone doesn’t justify selection; the filmmaking must stand on its own.
Both programmers consider Cairo a genuine launchpad. Distributors watch how Egyptian audiences respond, and programmers use CIFF as a scouting ground for films that may later reach Palm Springs, Berlin, or other key festivals. “The industry is here,” Routan says. “Films can be picked up, and filmmakers can build connections that matter.”
