Diario de Viaje (Doha - Qatar) - Parte 2

En la larga cadena de transformaciones del material original, "Let Me In", la remake hollywoodense dirigida por Matt Reeves (basada en la película sueca "Let the Right One In", de Tomas Alfredson, a su vez basada en una novela que, para seguir con la secuencia, toma su título y hasta cierta parte de su poética de una canción de Morrissey), tenía todo para perder.

Convertirla en un filme de terror convencional para hacer millones de dólares con quienes jamás irían a ver un filme "subtitulado" era una opción temible, pero por suerte la evitó de plano. Y hacer un filme demasiado fiel al original provocaría una respuesta del tipo: ¿y qué sentido tiene hacerla? De los dos caminos se puede decir que Matt Reeves tomó claramente el segundo, si bien por momentos cede a la tentación del mercado y entrega escenas con efectos especiales notorios que, por la naturaleza de la historia, se sienten completamente fuera de lugar.

Pero el resto es curiosamente similar. Pueblo chico, clase baja, principios de los '80, mismos personajes, situaciones y salvo algunos detalles (personajes que no están, cambios de montaje), es casi una copia perfecta. Claro que, siendo los Estados Unidos, es inevitable el ingreso de la cultura pop (canciones de Bowie, remeras de Culture Club y así) y el cambio de paradigma social: en vez de ser una mirada crítica a cierto socialismo tradicional sueco, lo es al dogmatismo religioso reaganiano (prestar atención al discurso suyo que se escucha de fondo en una TV del hospital, hablando del Bien, el Mal, etc, etc).

Debo admitir que durante buena parte de la película, que dura casi dos horas, el asunto no me terminaba de convencer. Me parecía respetuoso, serio, prolijo, pero copiado con más fidelidad que inventiva, que le faltaba la emoción y la sensibilidad de la original, perdida en pos de lograr un "copycat" perfecto. Pero cuando la relación entre "los chicos" se empieza a intensificar, en la segunda mitad del filme, y gracias también al trabajo de estos dos actores con enorme futuro como son Kodi Smit-McPhee (el chico de "The Road") y Chloë Grace Moretz (la chica de "Kick-Ass" en un notable cambio de registro), la película cobra una densidad emocional similar a la original.

Leía recién la crítica de A. O. Scott en The New York Times y me parece acertadísima su comparación con "E.T", algo que sale a la luz en esta película y no tanto en la original. Y es claro que Reeves lo tuvo en cuenta. No sólo porque Kodi se parece a Henry Thomas, hay mil elementos narrativos (la relación entre un chico de familia disfuncional y un amigo misterioso que esconde y que lo protege, la persecusión policial, las edades y transcurre en Nuevo México, aunque nevado) y hasta de puesta en escena (padre que no aparece nunca, madre a la que se ve cortada, fueras de campo permanentes, hasta la evolución de la música y el tempo, ochentoso, que también tenía la peli de Spielberg).

Reeves peca de excesivas referencias pop, un clásico "enganchapúblicos" del cine de Hollywood: una canción de David Bowie por ahí, una remera de Culture Club, unos caramelos, jugar al Pac-man, lo de cubo mágico (eso ya estaba), pero en general no molesta demasiado. Resulta difícil, igualmente, que la película deje el mismo impacto emocional que la original porque, por más obvio que sea decirlo, uno ya la vio y la sorpresa nunca estará ahí. O al menos no cuando se la tiene todavía tan fresca en la memoria. Pero hay que agradecerle a Reeves el casi suicida intento de hacer una remake tan fiel. Da la impresión, por momentos, que la hizo como fanático: para que no venga otro y la arruine...

Yendo para atrás, el día había empezado con "Benda Bilili!", un documental que me perdí en Cannes y que tiene algo muy a favor y algo bastante en contra. A favor está, por un lado, la increíble música y los personajes que integran esta banda del Congo que tiene a varios integrantes en sillas de rueda y con polio. Y, por otro, que jamás se los muestra desde la condescendencia o de la "historia inspiracional", dejando en claro la mano de un equipo francés en la tarea (la versión hollywoodense preferiría ni pensarla). El problema del filme es que no es bueno, en el sentido cinematográfico del término: está mal narrado, tiene huecos tapados "con alambres" y es, casi, más un extra de un DVD que una película propiamente dicha.

Al término de la proyección los directores dijeron que no se metieron en el tema con la idea de hacer una película sino la de grabar un disco y que no sabían nada de cine antes de empezar. Lamentablemente, se nota. "Benda Bilili!" es un rompecabezas pegoteado en el montaje que logra muy buenos momentos generalmente ligados a actitudes, comportamientos o el propio talento musical de los integrantes de la banda, pero no por el lado narrativo y mucho menos estético. Pero sí, de vuelta, se agradece la falta de miserabilismo: lo mejor que tiene la película aparte de la música.

¿Recomendación? La peli la pueden ver o no, no importa. Pero consigan el álbum de la banda, es impresionante.

Siguiendo para atrás tengo que irme del jueves y volver al miércoles. La tercera película en orden "flashback" no merece más que una línea de comentario. Se llama "Africa United" y es una especie de proyecto sociocultural que tiene más que ver con un trabajo de la UNESCO que con un filme. Pero intenta ser una película y cada uno de esos intentos -salvo la primera escena, que muestra al protagonista hacer una pelota de fútbol con un preservativo inflado- es de temer. Lo bueno, irónicamente, de que haya sido tan mala, es que como se exhibió en la playa de un hotel de lujo aquí en Doha, con un cóctel en paralelo, promediando el filme todos comíamos y bebíamos mirando la película de reojo y tratando de no descomponernos. Y no por la comida...

El asunto sigue para atrás y ahí aparece "Incendies", la película de Denis Villeneuve, franco-canadiense, que viene muy bien ubicada en la carrera para el Oscar a mejor filme extranjero de este año. Y son comprensibles las expectativas: película emocional, de una familia que a partir de la muerte de su madre, investiga su pasado para descubrir sorpresas (demasiadas, excesivas) que los impactan como familia y que dejan a las claras ciertas injusticias sociales y culturales de la vida en el Medio Oriente en las últimas décadas, la película --más allá de una narración episódica innecesariamente rebuscada, como este post-- tiene esos elementos que le funcionaron muy bien a Campanella el año pasado: misterio, suspenso, emoción, dimensión humana y política, con una narración que va y viene en el tiempo. Yo, en estas categorías, prefiero "El secreto de sus ojos". Esta película, si bien no exagera y es discreta, me pareció demasiado calculada y efectista. No es mi "cup of tea", como dirían en inglés, pero tampoco molesta en un terreno Iñárritu (aunque pasa cerca). Entre las nominadas seguro que está.

Y la primera película que vi, para llegar cual Christopher Nolan al principio del asunto, fue "Stone", de John Curran, una muy extraña película con Robert De Niro, Edward Norton y Milla Jovovich encarnando a un oficial de libertad condicional, un preso y la mujer de éste, en un triángulo que incluye juegos de poder, sexo, religión, escenas de lucimiento actoral y una puesta en escena deliberadamente extraña que permite suponer que la película no tomará los caminos previsibles. Y no, no los toma.

Lo raro es que lo que pasa a explorar de manera cada vez más fuerte -el tema de la religión, de cómo afecta o no a cada uno de los personajes- seguramente es más interesante y novedoso que saber qué pasará si De Niro libera al preso y la posible venganza que podría suscitar esa liberación. Pero ese eje, si bien interesa desde lo temático, nunca encuentra un dispositivo cinematográfico que lo contenga e incluya. Al final, uno desea un film noir con hombres enfrentados por una femme fatale que tantas idas y vueltas con los cristianos renacidos y otras yerbas.

Hoy entrevisté al director (el mismo de "The Painted Veil" y "We Don't Live Here Anymore") y es clarísimo que ese es el tema que le interesa y que por eso hizo el filme (y tiene cosas muy duras para decir sobre el regreso del fundamentalismo religioso a los Estados Unidos, tanto que prefiere casi considerarse australiano, país donde vivió alrededor de 20 de sus 50 años), pero nuestra charla seguramente hubiese sido infilmable. Y algo así pasa con la película, especialmente teniendo un trío de actores cuya intensidad promete una guerra de nervios permanente. Tal vez habría sido una película excesiva, claro (especialmente de parte de Norton, De Niro está en plan furia contenida), pero más rendidora que la que terminó siendo.

El festival tiene muchas otras películas que no comento porque ya las he visto y comentado en anteriores ocasiones. Las hay muy buenas ("Certified Copy", de Abbas Kiarostami; "Machete", de Robert Rodriguez; "Meek's Cutoff", de Kelly Reichardt; "Of Gods and Men", de Xavier Beauvois), las hay no tan buenas ("Outside the Law", de Rachid Bouchareb; "Potiche", de Francois Ozon; "On the Path", de Jasmila Zbanic ) y directamente malas ("Miral", de Julian Schnabel), en un festival cuyo principal interés, igualmente, pasa por otro lado, por uno -si se quiere- geopolítico, pero que será tema de otra próxima entrada. Aquí ya hay más que suficiente...

Diario de Viaje (Doha, Qatar) - Día Uno

Limbo. Eso es. Uno ha escuchado hablar de situaciones en las que sentís que no estás realmente ahí sino que lo soñás, que lo estás imaginando, que lo que te está pasando sucede en algún lugar que no existe en el mundo real. O, al menos, no en el lugar en el que uno vive (lo que en inglés suelen denominar "out-of-body experiences").

La experiencia de llegar a Doha, Qatar, fue bastante curiosa: el viaje en sí, el arribo, la recepción, recorrer la ciudad de noche, la llegada al hotel, el alucinante cuarto en el que estoy y, a los quince minutos, toparse en CNN con la muerte de Néstor Kirchner terminaron por hacerme sentir eso. Todo era bastante irreal antes, pero una vez que vi en televisión y luego confirmé online (sí, confirmé, porque no lo creía del todo) lo que había pasado, sentí como que algo raro había ocurrido y me había despertado después del viaje en avión en una dimensión paralela, en un mundo con otras reglas, otra lógica, donde tal vez la muerte de Kirchner era algo que sucedía en el presente, pero ese presente no era hoy, sino que -de algún modo- el viaje en avión me había depositado no sólo en otro país, en otra cultura y, sobre todo, en un extrañísimo paisaje, sino que me había transportado en el tiempo, o hacia una dimensión paralela.

¿Esto será el limbo?

No soy creyente, soy cinéfilo. Mi única posible explicación para esta sensación es una combinación de "Star Trek" y esa película de Albert Brooks que transcurre en el Paraíso. Pero si a eso le suman una ciudad que es una mezcla de Las Vegas y Miami, y que parece depositada por una cultura alienígena en medio del desierto, en la que hay shoppings con locales de las marcas más conocidas del mundo siendo recorridos por mujeres con burkas de los más complejos y extraños (nada supera la mujer con velos cubriéndole la cara y con anteojos de sol encima... estando adentro del shopping), pero a la vez con tal cantidad de extranjeros que lo que más se escucha es el inglés, la alucinación se agranda.

Y ni hablar del hotel, que si no fue diseñado por Philippe Starck le ando cerca, y una ciudad que mezcla dunas y obras en construcción con torres iluminadas al mejor estilo gran ciudad norteamericana, comidas de todo tipo y origen, McDonald's en árabe y el blanco radiante de casi toda la escenografía (porque eso parece todo, vamos, una escenografía) musulmana. Podría seguir por un rato y no llevo ni siquiera un día: 4x4 de tamaños imposibles, un sol abrasador (40 grados de día), la sensación de que los objetos se desintegran apenas uno los deja de ver --o que no hay nada detrás de las fachadas-- y que, en el medio de todo esto, hay un festival de cine puesto a todo trapo.

Todo es demasiado irreal: el viaje (una de las pocas veces que viajé en Business Class, lo cual ya de por sí te ubica en otro universo), la llegada (una asistente te hace los trámites de inmigración mientras vos esperar tomando algo en "la terminal premium" del aeropuerto), el calor al salir a la calle de noche, dar vueltas por la ciudad (¿ciudad?) esta mañana para conseguir una credencial, correr y llegar a ver la nueva película de Robert DeNiro y Edward Norton ("Stone", bastante "pseudomística" de por sí) con menos de diez personas en el cine. Diez. En la siguiente, "Incendies" (número puesto para una nominación al Oscar extranjero), éramos cuatro.

Está también el Centro Cultural Katara, un inmenso y semivacío complejo de más de 30 edificios numerados, puesto con todo el lujo del otro lado de la ciudad y donde el DTFF (Doha Tribeca Film Festival) tiene sedes que envidiarían todos los festivales del mundo (y tanta gente trabajando que casi podrían poner cuatro por invitado) y al que te llevan en buses con distintos colores según el recorrido. El hecho de que todo es gratis, todo el tiempo: comida, bebida, transporte. El "lounge" de prensa tiene un restaurante... gratis. Y así, cada evento, presentación y lugar. Todo mientras Qatar hace un esfuerzo por ser la sede del Mundial 2022 y uno, realmente, no tiene demasiada idea de qué es lo que pasa detrás de las fachadas.

No he hablado con nadie francamente del tema ni de las contradicciones que me despierta este lugar, pero imagino que debe tener su lado oscuro. Por más que vendan la imagen de ser el país con mejor ingreso per capita del mundo, la cantidad de policías y agentes de seguridad que rodean todos los lugares por los que pasé me hace sospechar que no todo es tan tranquilo ni, a su manera, armonioso. Acaso esa tensión tenga que ver con un elemento religioso que se ve bastante aplastado aquí. Seguramente hablo desde el desconocimiento de la geopolítica internacional -sé que Qatar, Bahreim, Arabia Saudita y los Emiratos Arabes tienen una relación con la cultura occidental, digamos, bastante más aceitada que sus vecinos como Irán, Irak, etc-, pero ver cuatro hombres con túnicas blancas y varias mujeres cubiertas de negro de pie a cabeza tomando algo en un Starbucks me resulta bastante extraño. Me vuelve medio talibán.

Y si la ciudad y el viaje y el hotel no fueran suficientes, y si el festival fantasma no alcanzara a describir la sensación de "limbo" que me atraviesa, lo que paralelamente se vive en la Argentina termina por cerrarlo. O, más bien, por hacerlo explotar. Veo la tele online y no puedo creerlo. Leo los diarios, Twitter, las noticias y me parece que no es posible, que -literalmente- viajé en el tiempo o a una dimensión paralela. Hace unas horas pasé por la inauguración de una muestra de fotos de Brigitte Lacombe (increíbles, ya que estamos) y tenía al lado a Harvey Weinstein (el ex boss de Miramax), Salma Hayek, Kevin Spacey y --en otro momento "despiértenme please"--... Andrew MacCarthy y diez minutos después estaba en la sala de prensa tratando de enganchar la transmisión online de la TV Pública para toparme con el ataúd, Cristina, la familia, la gente, la plaza, los llantos, las palabras, las emociones. Y después una proyección en la playa, donde nadie veía la película. Demasiado.

Podría seguir escribiendo horas pero en realidad no tengo mucho más para decir. Suena en Qatar Radio el dúo entre Gary Barlow y Robbie Williams (dos ex Take That, para los que no están en tema...) y confirmó que sí, que estoy en un mundo paralelo, o en un limbo en el que nada tiene demasiado sentido ni lógica. Me parece que no salgo del cuarto. Creo que la máquina de Nespresso, el 45 pulgadas y yo podemos convivir tranquilos y llevarnos bien los próximos tres días. No se si quiero ni enterarme de lo que pasa abajo.

Diario de Doha - Qatar (Parte 0)

En Ezeiza, a punto de partir para Doha, Qatar, invitado a este festival, el más nuevo de una de las últimas tendencias regionales del "festivalismo" en el mundo. En su segunda edición, Doha-Tribeca (el festival tiene el apoyo, el know how y el sponsoreo de su par neoyorquino, con la presencia de Robert De Niro y el ex Sundance Geoffrey Gilmore) intenta competir con sus vecinos y mayores (por tamaño) Dubai y Abu Dhabi.

No puedo agregar mucho por ahora ya que, evidentemente, estoy todavía en Buenos Aires. La programación es eclética, curiosa. De la competencia árabe conozco bastante poco y de la muestra internacional he visto muchas. Algunas muy buenas (Kelly Reichardt, Xavier Beauvois, Abbas Kiarostami) y otras, a mi entender, de mediocres para abajo (Bouchareb y Schnabel, cuya inclusión imagino más temática que estética, y la nueva de Ozon, entre otras).

Es un festival muy corto: acaba de comenzar hoy y concluye el sábado, y apenas pasaré tres días y medio de festival, para lo cual tengo un paquete de películas que no he podido ver aún y que me permiten sentir que la experiencia puede valer cinematográficamente la pena (y no sólo cultural-turísticamente). Filmes como "Neds", "Benda Bilili", "Let Me In", "Waiting for Superman", "The First Grader", la canadiese y muy Oscarizada "Incendies", "Stone" (DeNiro-Ed Norton) y otros (calculo que en poco más de 72 horas apenas llegaré a ver una decena) harán un pack interesante, más algunas cosas que me traje del Festival de Mar del Plata para, como se dice, adelantar laburo.

Ahora estoy en Ezeiza, a una hora de salir. Nada demasiado extraordinario para contar. Me la impresión de que la gente de Qatar está moviendo cielo y tierra en su interés por ser sede de mundiales, juegos olímpicos, y varios etcéteras, y yo soy parte de esa movida, de alguna manera. Una vez allí veré. Se ve bien, en fotos. El mundo real, se sabe, suele ser una cosa muy diferente.

Doha Film Festival: programación

Rachid Bouchareb’s Outside the Law to open second edition

The First Grader by Justin Chadwick is closing night gala

New releases from renowned directors Julian Schnabel, Davis Guggenheim, François Ozon, Stephen Frears and Abbas Kiarostami

USD 400,000 prize money for Arab Film Competition and Audience Awards for Filmmakers

September 26 2010 (Doha, Qatar) – During a press conference at the Villaggio Cineplex in Doha this morning, the Doha Film Institute (DFI) announced the Arab Film Competition, the first 30 titles in the World Panorama section, the Arab Short Film Competition and a Special Screening for the 2^nd annual Doha Tribeca Film Festival (DTFF). This year the Festival, which runs from 26-30 October, will present a rich showcase including 4 world premieres.

Headlining the second edition is award-winning French-Algerian director Rachid Bouchareb’s action-thriller, Outside the Law. Set against the backdrop of the Algerian struggle for independence from France after WWII, Outside the Law is the tale of three Algerian brothers who lost their family home in France's 1945 attack on the market town, Sétif, and scattered across the globe. The film stars Jamel Debbouze, Sami Bouajila, Roschdy Zem, Chaffia Boudra, Bernard Blancan and Sabrina Seyvecou.

Outside the Law director Bouchareb said: "I'm deeply honoured and delighted to be opening the Doha Tribeca Film Festival. I look forward to bringing Outside the Law to Middle Eastern audiences and showing them the history of the Algerian struggle for independence. I fully support DFI's goals towards developing and discovering Arab talent. It is very important for organisations like DFI to exist and to use their resources towards the goal of promoting Arab cinema and filmmaking talent and taking their stories to audiences around the world."

The five day event will close with Justin Chadwick’s The First Grader, the inspirational story about an elderly farmer in a Kenyan village who wants to enroll in a local school and learn to read. The film stars Naomie Harris and Oliver Litondo.

On being selected as the Closing Night Gala, Chadwick said: “It is a real honour for our film The First Grader to be selected to screen on the closing night of this wonderful festival. We have all heard how exciting, dynamic and important this festival is so we are excited and thrilled to be part of this true celebration of film.”

This year’s Festival features works from both emerging and established directors with genres including comedies, family-oriented films, epics, political biopics, thrillers and documentaries. The DTFF programme will be presented in four distinctive categories: the Arab Film Competition, World Panorama, Special Screenings and the Arab Short Film Competition. Ten films will participate in the Arab Film Competition, four of which are World Premieres: Grandma, A Thousand Times by Mahmoud Kaabour, Hawi by Ibrahim El Batout, Man Without a Cellphone by Sameh Zoabi and The Mountain by Ghassan Salhab.

Other programme highlights include Julian Schnabel’s Miral, starring Freida Pinto (Slumdog Millionaire), Stephen Frears’ Tamara Drewe, starring Gemma Arterton (Prince of Persia), Aktan Abdykalykov’s The Light Thief, Jeff and Michael Zimbalist’s documentary The Two Escobars, Abbas Kiarostami’s Certified Copy, Randall Wallace’s Secretariat, Jasmila Zbanic ‘s On the Path, Robert Redford’s The Conspirator and Egyptian-American comedian Ahmed Ahmed’s directorial debut with the documentary Just Like Us.

The newly added Arab Film Competition will award prizes for Best Arab Film and Best Arab Filmmaker. The Festival will also feature two audience awards, one for Best Narrative Film and the other for Best Documentary Film. Each category features prizes of USD 100,000 each. Also new this year is the USD 10,000 prize for Best Arab Short Film, bringing the total cash prizes monies to USD 410,000.

As Doha Film Institute's (DFI) annual celebration of all things film, DTFF is a community-minded, five-day event that showcases the best of Arab and international films, and has a full program of festival activities to engage the community, industry and filmmakers. Events include panel discussions, informal VIP events, audience-interactive Q & A’s, a Family Day with live entertainment, and a multimedia exhibit dedicated to cinema figures, soon to be unveiled at DTFF’s new hub, Katara, the Cultural Village, situated on the eastern coast of Doha.

For those who are not able to attend DTFF, DFI’s newly re-imagined and redesigned website launches today, with exclusive coverage to give cinema fans an online film festival experience. The site, www.dohafilminstitute.com, is a multimedia portal that features streaming video, online education, specialized film programmes, filmmaker interviews, festival reports, photo galleries, and news about the Institute.

The 2010 programming team led by Amanda Palmer expanded this year to include Arab programmers, Oscar-nominated Palestinian filmmaker Scandar Copti and Lebanese programmer Hania Mroue, who worked alongside Tribeca Enterprises’ Chief Creative Officer Geoffrey Gilmore, David Kwok and Genna Terranova and a range of international consultants.

Amanda Palmer, Executive Director of DFI said the 2010 film line-up epitomises the true spirit of the Festival. "Our expanded programming team has had a challenging few months selecting from hundreds of submissions to present a strong Arab film line up for our first ever juried competition that underscores DFI's commitment to help drive regional talent in cinema and offer Arab filmmakers a platform to showcase their creativity. We are proud that our efforts to stimulate the growth of filmmaking in the region is being met with such enthusiasm and are confident our local and international guests will be able to discover new storytellers and cinematic gems that have the potential to earn global acclaim.”

Palmer continued, "The Festival plays a strategic role in supporting DFI's long term plans to build a sustainable film industry in Qatar. Through our year round education initiatives, we are nurturing the new generation of filmmakers, supporting regional and international film financing, and supporting the new wave in Arab filmmaking. One of our founding objectives has been to encourage regional talent, not only through creative support but financial and production assistance and key industry know-how, helping us achieve our goals to enhance regional infrastructure and promote filmmaking from the Arab world."

Launched in 2009, the Doha Tribeca Film Festival reflects a successful cultural partnership between DFI and Tribeca Enterprises. The Festival provides an annual platform that celebrates DFI’s year-round programs and the wonders of film appreciation and entertainment from every corner of the globe.

Geoffrey Gilmore, Chief Creative Officer of Tribeca Enterprises, said: “The range, diversity and quality of this year’s program underscores our mission to showcase the full spectrum of international cinema – from the world’s most esteemed veteran directors to the emerging new class of Arab storytellers. It’s challenging to limit the slate to under 50 films, so this is a very thoughtfully curated lineup.”

“We have received more than 300 submissions from over 50 countries, with many films from the Middle East, Lebanon, Palestine and Egypt that offer a unique insight into the region, as perceived by today’s filmmakers,” said Scandar Copti. “The films in our Arab Film Competition are evocative of the trials, tribulations and bittersweet facets of everyday life in the Arab world. As an Arab filmmaker, I am very proud to welcome four world premieres that will give our international audience an insider’s look at modern realities around the region, and help emerging and established filmmakers get the support they deserve.”

“Our first Arab Film Competition demonstrates the creativeness of Arab filmmakers and the larger filmmaking community from the Arab Diaspora, who continue to pursue their passion and create films that touch human hearts. We have a powerful program of movies from the Arab world and as a programmer, I am excited to see first-time filmmakers competing alongside seasoned auteurs. With four world premieres and a wide range of different genres and styles of filmmaking, DTFF 2010 brings together a compelling collection of features and shorts that highlight the richness of Arab talent and creativity,” said Hania Mroue.

A list of titles of the programmes announced for the 2010 Doha Tribeca Film Festival follows:

OPENING NIGHT GALA

Outside the Law (Hors la loi), directed by Rachid Bouchareb, screenwriters Rachid Bouchareb, Olivier Lorelle. (France, Algeria, Tunisia, Italy, Belgium) - Feature Narrative

Three Algerian brothers who lost their family home in France's 1945 attack on the market town, Sétif, scatter across the globe. Each embarks on a different wild adventure -- one heads off to Indochina, another gets involved with the Pigalle boxing club underworld, the third leads a resistance movement -- but reunite in Paris seeking to reclaim their homeland.

Cast: Jamel Debbouze, Sami Bouajila, Roschdy Zem, Chaffia Boudra, Bernard Blancan, Sabrina Seyvecou

CLOSING NIGHT GALA

The First Grader, directed by Justin Chadwick, screenwriter Ann Peacock. (U.K.) - Feature Narrative

The inspirational story about an elderly farmer in a Kenyan village who wants to enroll in a local school and learn to read, this charming film features an outstanding performance by Naomie Harris as a skeptical teacher as well as Oliver Litondo as the octogenarian student.

Cast: Naomie Harris, Oliver Musila Litondo

ARAB FILM COMPETITION

Balls (Farsan), directed by Josef Fares, screenwriters Josef Fares, Torkel Petersson. (Sweden) - Feature Narrative

Middle Eastern earthiness meets Scandinavian sweetness in this comedy by acclaimed Lebanese-Swedish director Josef Fares, whose half-dozen films over the past decade have been international festival favorites. In his latest cinematic culture clash, Fares features his actual father as a lonely widower slowly making his way back onto the dating scene, with amusing, endearing results.

Cast: Torkel Petersson, Jan Fares, Hamadi Khemiri, Juan Rodriguez, Anita Wall, Nina Zanjani, Jessica Forsberg

Grandma, A Thousand Times (Teta, Alf Marra), directed by Mahmoud Kaabour. (United Arab Emirates, Qatar, Lebanon) - Feature Documentary

This personal documentary puts a feisty Beiruti grandmother at the center of brave film exercises designed to commemorate her many worlds. With great intimacy, the film documents her larger-than-life character as she struggles to cope with the silence of her once-buzzing house and imagines what awaits her beyond death.

Featuring: Teta Fatima Kaabour

Hawi, directed and written by Ibrahim El Batout. (Egypt, Qatar) - Feature Narrative

A prisoner is released on a mission to retrieve a set of documents. A man roams the city streets towing his sickly horse behind him. A group of songwriters gathers to compose. In this portrait of modern Alexandria, themes of human loss and displacement take center stage in place of a clearly defined story arc.

Cast: Hanan Youssef, Sherif El Dessouki, Mohamed El Sayed, Fady Iskandar, Rina Aref, Massar Egbary Band

Itto Titrit, directed and written by Mohamed Abbazi. (Morocco) - Feature Narrative

A little girl with the name Itto Titrit (Morning Star) is kept out of school against her wishes. She yearns to be close to her childhood love during the pre-independence days in Morocco, and so she decides to outsmart the social taboos established by dominant males. To get her share of freedom like the rest of the country, she does not know what it will cost to challenge the well-established male privileges.

Cast: Nisrine Fouad, Amine Jebbor, Sidi Moh Chakri, Mustapha Kadiri, Hadda Oubou

Man Without a Cellphone (Bidoun Mobile), directed by Sameh Zoabi, screenwriters Sameh Zoabi, Fred Rice. (Palestine, France, Belgium, Qatar) - Feature Narrative

In this endearing comedy about Palestinian youth, director Sameh Zoabi introduces viewers to the twentysomething slackers who find themselves caught between angry parents and suspicious Israelis, when all they really want to do is have fun, hang out and pick up girls. Politics aren't completely out of the picture, but the engaging and lively personalities shine foremost in this winning, good-natured tale.

Cast: Razi Shawahdeh, Bassem Loulou, Louai Nofi, Naela Zarqawy, Ayman Nahas, Amer Hlehel

The Mosque (A Jamaa), directed and written by Daoud Aoulad. (Morocco, France) – Feature Narrative

Daoud Aoulad-Syad's previous film, Waiting for Pasolini has just wrapped in a small Moroccan town and although the neighbors have destroyed all the sets, the film's mosque remains and has become a real place of worship for the town. This is a complete disaster for Moha a townsman and film-extra, who used to grow vegetables to feed his family on the land. Aoulad-Syad adds another thoughtful and entertaining film to his impressive repertoire.

Cast: Abdelhadi Touhrach, Bouchra Hraich, Mustapha Tahtah, Naceur Oujri, Salem Dabella

The Mountain (La Montagne), directed and written by Ghassan Salhab. (Lebanon) - Feature Narrative

Awash with haunting black-and-white images, The Mountain is a journey into the mind of a man as he spends a month in isolation at a desolate hotel. A near silent picture, this portrayal of harsh reality mixed with vivid dreamscapes will leave viewers filled with wonder about the crossroads of fact and fantasy.

Cast: Fadi Abi Samra

My Name is Ahlam (Esmi Ahlam), directed by Rima Essa, screenwriters Rima Essa, Era Lapid. (Palestine) - Feature Documentary

Aisha, a Palestinian woman living in the occupied West Bank, is fighting for her daughter's right to receive adequate treatment for her leukemia. The director brings to the screen a unique testimonial that escapes self-pity and victimization while focusing on Aisha's process of empowerment. Suddenly she is no longer afraid to stand up to her occupiers and to her conservative society.

Once Upon Our Time (Un Conte de Faits), directed and written by Hichem Ben Ammar. (Tunisia) - Feature Documentary

Unfolding like a storybook tale, this documentary traces two years in the life of 15-year-old Tunisian violin prodigy Anas Romdhani, who originally had no money with which to take lessons. Covering his discovery and mentoring by renowned violinists, he enrolls at a prestigious London music academy, becomes an international sensation and tours the world.

The Quarter of Scarecrows (Garaqi Daholakan), directed by Hassan Ali Mahmood, screenwriter Sherzad Hassan. (Iraq) - Feature Narrative

An allegory about tyranny, this drama was inspired by the eight-year war between Iraq and Iran in which millions of innocent civilians died. Sad yet powerful, it depicts an infestation of crows on a rich landowner's property and how a group of the village's children are victimized and used as human scarecrows.

Cast: Valid Marouf Jaro, Abdal Shawkat, Solav M. Khared, Taha Akhajan

WORLD PANORAMA

Africa United, directed by Debs Gardner Paterson, screenwriter Rhidian Brook. (U.K.) - Feature Narrative

Dudu, from a Rwandan slum, is a serious football fan. He and his sports-mad buddies decide to walk 5000 kilometers to South Africa to experience the World Cup. The kids cross borders, gather new friends, and are forced to overcome obstacles on their incredible journey.

Cast: Roger Nsengiyumva, Sherrie Silver, Eriya Ndayambaje, Yves Dusenge, Sanyu Joanita Kintu

Benda Bilili!, directed by Renaud Barret, Florent de la Tullaye. (Democratic Republic of the Congo, France) - Feature Documentary

Popping with potent rhythms and set against a bleak backdrop of near hopeless despair, this documentary about disabled Congolese musicians Staff Benda Bilili demonstrates the power of art to triumph over adversity. Not only will the film make your body move, it'll stir you emotionally as well.

Bhutto, directed by Duane Baughman, Johnny O'Hara. (USA, U.K.) - Feature Documentary

Political biopics too often fall into either hagiography or demonization, extremes mostly avoided by this documentary about the late Benazir Bhutto, the first woman elected to rule a Muslim nation. Her life's journey is viewed in a more reasoned tone here, balanced considerably through sharp editing, striking visuals and interviews with both family and foes.

Featuring: Sanam Bhutto, Asif Zardari, Aseefa Bhutto Zardari, Bakthawar Bhutto Zardari, Bilawal Bhutto Zardari, Mark Siegel

Boy, directed and written by Taika Waititi. (New Zealand) - Feature Narrative

A New Zealand coming-of-age story about a supremely likeable kid who reunites with his long-lost hoodlum dad, Boy is packed with pop-culture touchstones, nutso fantasy sequences, and a final dance number that rivals Slumdog Millionaire for pure outrageousness. With the videos of Michael Jackson as frequent inspiration and flashes of unexpected animation, this endearing tale of innocence that keeps its silliness in balance with its serious side has already become New Zealand's biggest-ever home-grown hit.

Cast: James Rolleston, Te aho eketone-whitu, Taika Waititi

Budrus, directed and written by Julia Bacha. (USA, Palestine) - Feature Documentary

In one of the most conflicted parts of the world, a Palestinian family man unites rival parties Fatah and Hamas, Western activists, and even groups of progressive Israelis in a nonviolent movement to save his village from being destroyed. Award-winning documentarian Julia Bacha captures with rawness and galvanizing intensity the power of ordinary people to peaceably fight for extraordinary changes.

Featuring: Ayed Morrar, Iltezam Morrar, Kobi Snitz, Yasmine Levy, Ahmed Awwad, Doron Spielman

Certified Copy (Copie Conforme), directed and written by Abbas Kiarostami. (France, Italy) - Feature Narrative

Iranian auteur Abbas Kiarostami makes a daring move from his usual fare with this comic-drama set in Italy's scenic Tuscany region. Starring French actress Juliette Binoche and British opera singer William Shimell, the pair meet and take a daytrip that evolves into a role-playing game that questions the actual relationship of these seeming strangers.

Cast: Juliette Binoche, William Shimell, Jean-Claude Carriere, Agathe Natanson

The Conspirator, directed by Robert Redford, screenwriter James Solomon. (USA) - Feature Narrative

The latest directorial effort from Robert Redford is a fascinating historical drama that tells the little-known story of the trial for the seven men and one woman accused of assassinating Abraham Lincoln. Featuring standout performances from James McAvoy and Robin Wright, Redford brings the past vividly back to life in this haunting new film.

Cast: James McAvoy, Robin Wright, Evan Rachel Wood, Kevin Kline, Justin Long, Tom Wilkinson

Here Comes the Rain (Chatti Ya Dini), directed and written by Bahij Hojeij. (Lebanon) - Feature Narrative

In this study of a kidnapped man returning to his loved ones after decades in detention, filmmaker Bahij Hojeij explores how a missing husband and parent affects his family's social dynamic, while the city he once also called home - in this case the ever-evolving Lebanese capital of Beirut - changes too in his absence.

Cast: Hassan Mrad, Julia Kassar, Carmen Lebbos, Bernadette Hodeib, Elie Mitri, Diamand Bou Aboud

Incendies, directed and written by Denis Villeneuve. (Canada, France) - Feature Narrative

Director Denis Villeneuve continues his studies of females facing extreme circumstances in this vivid adaptation of a Wajdi Mouawad play set in the Middle East. Two different voyages - a woman's search for her long-lost son, and a mothers' final request that her children locate other family members - interweave in this tragic drama.

Cast: Lubna Azabal, Melissa Desormeaux-Poulin, Maxim Gaudette, Remy Girard

Just Like Us, directed by Ahmed Ahmed. (USA) - Feature Documentary

Egyptian-American comic and first-time director Ahmed Ahmed takes us on a hilarious tour from Los Angeles to Cairo, Dubai, Beirut, Riyadh and back to New York with a gaggle of other stand-up talent, including Maz Jobrani, Tom Papa, Ted Alexandro, Tommy Davidson, Omid (The Infidel) Djalili. Along the way, taboos of culture and geopolitics are exploded, and a younger generation of both comedy talents and audiences is born.

Featuring: Ahmed Ahmed, Erik Griffin, Ted Alexandro, Maz Jobrani, Angelo Tsarouchas, Omid Djalili

The Kid, directed by Nick Moran, screenwriters Kevin Lewis, Nick Moran. (U.K.) - Feature Narrative

This inspirational drama based on the best-selling autobiography by crime writer Kevin Lewis depicts a young man's escape from a brutal upbringing on a London council estate to his emergence as a bestselling author. Starring Rupert Friend and Natascha McElhone, the film was directed by Nick Moran, who previously tackled biographical fare with "Telstar: The Joe Meek Story."

Cast: Rupert Friend, Augustus Prew, William Finn Miller, Natasha McElhone, Con O'Neill, Ioan Gruffudd

Let Me In, directed and written by Matt Reeves. (U.K., USA) - Feature Narrative

2008's famed Swedish vampire film "Let the Right One In" takes on a new but equally bone-chilling form in Matt Reeves' (Cloverfield) "Let Me In." With impeccable performances by newcomers Kodie Smit-McPhee and Chloe Moretz, a disquieting mis-en-scene comparative to the original, and great scares, this vampire tale is one not to be missed.

Cast: Chloe Moretz, Kodi Smit-McPhee, Richard Jenkins, Elias Koteas, Cara Buono, Chris Browning

The Light Thief (Svet-ake), directed by Aktan Arym Kubat, screenwriters Aktan Arym Kubat & Talip Ibraimov. (France, Germany, Kyrgyzstan, Netherlands) - Feature Narrative

A helpful electrician known as "Svet-ake" or "Mr. Light" brings illumination of all sorts to the small village caught in the midst of a revolution against a totalitarian State. With his dreams of having a son and providing cheap wind power, the electrician makes strong connections in his attempt to rewire the economic power structure of his community.

Cast: Aktan Arym Kubat, Taalaikan Abazova, Askat Sulaimanov, Asan Amanov, Stanbek Toichubaev

Little Sister (Mei Mei), directed and written by Richard Bowen. (China, USA) - Feature Narrative

An Asian version of the Cinderella story, this family-oriented film was shot in China's Yunnan Province and features former Disney child star Brenda Song as the narrator-storyteller with a mostly Chinese cast. Beautifully shot with spectacular sets and Zen-like acting, the movie offers children a wonderful alternative to the overly-familiar European storyline.

Cast: Xiao Min, Wang Caiping, Chi Peng, Zhang Jie, Qiu Lin, Brenda Song

Made in Dagenham, directed by Nigel Cole, screenwriter William Ivory. (U.K.) – Feature Narrative

Mixing documentary footage with drama, this populist workers saga starring Sally Hawkins and Bob Hoskins recounts a landmark 1968 strike at the U.K.'s Ford Motors factory, when nearly 200 women protested over equal pay, better working conditions and an end to sexual discrimination.

Cast: Sally Hawkins, Bob Hoskins, Miranda Richardson, Geraldine James, Rosamund Pike

Meek's Cutoff, directed by Kelly Reichardt, screenwriter Jonathan Raymond. (USA) - Feature Narrative

Inspired by true events, a wilderness guide in the 19th century leads three young couples and their children along the Oregon Trail to the new frontier of America's west. The film depicts the paranoia and hysteria that results when the group gets lost, runs low on water, and kidnaps a Native American they believe may be spying on them.

Cast: Michelle Williams, Bruce Greenwood, Will Patton, Zoe Kazan, Paul Dano, Shirley Henderson

Miral, directed by Julian Schnabel, screenwriter Rula Jebreal. (France, U.K.) - Feature Narrative

From Academy Award-nominated director Julian Schnabel comes the story of four women whose lives intertwine in the starkly human search for justice, hope and reconciliation amid a world overshadowed by conflict, rage and war. The story begins in war-torn Jerusalem in 1948 when Hind Husseini opens an orphanage that quickly becomes home to 2,000 orphans. One is Miral.

Cast: Freida Pinto, Hiam Abbass, Willem Dafoe, Vanessa Redgrave, Alexander Siddig, Yasmine Al Massri

Morgen, directed and written by Marian Crisan. (Romania, France, Hungary) - Feature Narrative

Nelu works as a supermarket security guard in a small village on the Romanian-Hungarian border. One day Nelu fishes a Turkish man out of the river, as the stranger struggles to reach Germany. The two men are unable to communicate with words, but Nelu provides the illegal emigrant with clothes, food, shelter and a far-fetched promise to help him accomplish his journey.

Cast: Andra Hathazi, Yilmaz Yalcin, Elvira Rimbu, Dorin C. Zachei, Molnar Levente, Razvan Vicoveanu

My Perestroika, directed by Robin Hessman. (USA, U.K.) - Feature Documentary

The myths and realities of the former USSR emerge in this documentary tracing the personal histories of five children who grew up during the Cold War and today represent average citizens in modern Russia, dealing with the familiar and easily identifiable emotions that characterize all of our daily lives.

Neds, directed and written by Peter Mullan. (U.K.) - Feature Narrative

Set in 1970s Glasgow, the film tells the story of John McGill, a shy and intelligent 16-year-old boy who, through a series of circumstances, turns into a NED - a non-educated delinquent and goes off the rails. Peter Mullan examines to what extent we can retain or not human violence when we're just looking for some love.

Cast: Peter Mullan, Louise Goodall, Marianna Palka, Conor McCarron, Gregg Forrest

Of Gods and Men (Des hommes et des dieux), directed by Xavier Beauvois, screenwriters Etienne Comar & Xavier Beauvois. (France) - Feature Narrative

Director Xavier Beauvois uses the 1996 mystery of the Tibhirine monastery murders as a basis for this meditation on belief. Set weeks before the murders, the fictional narrative follows the soul-searching dilemma faced by monks dealing with extremists on one side and the government's military might on the other. France's Oscar entry for this year.

Cast: Lambert Wilson, Michael Lonsdale, Olivier Rabourdin, Philippe Laudenbach, Jacques Herlin, Loic Pichon

On the Path (Na Putu), directed and written by Jasmila Zbanic. (Bosnia and Herzegovina, Austria, Germany, Croatia) - Feature Narrative

Luna and Amar seem like the happiest couple in Sarajevo, despite their problems starting up a family. But their world turns upside down when Amar loses his job and finds solace in religious fanaticism, while Luna - portrayed with great emotional. verve by newcomer Zrinka Cvitesic -- refuses to alter her independent, modern lifestyle

Cast: Zrinka Cvitesic, Leon Lucev, Ermin Bravo, Mirjana Karanovic, Marija Kohn, Nina Violic

Potiche, directed and written by François Ozon. (France, Belgium) - Feature Narrative

Acclaimed writer/director François Ozon delivers a hilarious screwball comedy with ''Potiche'' - a charming, candy-colored farce about a trophy wife who must take over her husband's business that features French superstars Catherine Deneuve and Gérard Depardieu along with a supporting cast including Fabrice Luchini, Karin Viard, Jérémie Renier and Judith Godrèche.

Cast: Gérard Depardieu, Catherine Deneuve, Jérémie Renier, Judith Godrèche, Karin Viard, Fabrice Luchini

The Runway, directed and written by Ian Power. (Ireland, Luxembourg) - Feature Narrative

Bring out the hankies for this tale of an Irish lad who learns valuable lessons about family, life and maturity as he and his community try to help a lost aviator find his way. Based on a true event, the feel-good movie is perfect for anyone who ever went off-course and needed a path home.

Cast: Kerry Condon, Demian Bichir, James Cosmo

Secretariat, directed by Randall Wallace, screenwriter Mike Rich. (USA) - Feature Narrative

The thrilling, pulse-quickening world of thoroughbred horse racing comes to life in this story of 1973's Triple Crown winner, owner Penny Chenery and trainer Lucien Laurin. Set against the historical backdrop of Vietnam War, the movie's real intensity comes from Diane Lane's performance as a woman who leaves her city life behind to take over her ailing father's crumbling farm.

Cast: Diane Lane, John Malkovich

Shahada, directed by Burhan Qurbani, screenwriter Burhan Qurbani, Ole Giec. (Germany) - Feature Narrative

Set in modern Berlin, the fates of three young German-born Muslims collide as they struggle to find their place between faith and modern life in contemporary western society, caught at a crossroads where alluring liberated lifestyles conflict with deeply-rooted traditions.

Cast: Maryam Zaree, Jeremias Acheampong, Carlos Ljubek, Marija Skaricic, Sergej Moya

Tamara Drewe, directed by Stephen Frears, screenwriter Moira Buffini. (U.K.) - Feature Narrative

Based on the popular newspaper comic strip set in a quaint English village, the film recounts the romantic adventures of a young journalist who returns back home after years away to sell the house she inherited from her late mother. Gemma Arterton's flinty, flirty, and slightly filthy performance as a sexual interloper among the rural rubes she left behind as an ugly-duckling teenager is nothing short of electrifying.

Cast: Gemma Arterton, Luke Evans, Dominic Cooper

Tears of Gaza (Gazas Tarer), directed by Vibeke Løkkeberg. (Norway, Palestine) - Feature Documentary

Tears of Gaza is a powerful and emotionally devastating record of the impact the 2008 - 2009 bombing of Gaza by the Israeli military as caught by Palestinian cameramen. Directed by Vibeke Løkkeberg, it focuses on the horrific impact of the attacks on civilians, mostly women and children. The movie has been referred to as "the ultimate anti-war film" and indeed will leave viewers disturbed and angry.

Cast: Amira Fat-hi Dawood El Eren, Rasmia Al-Sultan, Yahya Subh

The Two Escobars, directed and written by Jeff Zimbalist and Michael Zimbalist. (USA, Colombia) - Feature Documentary

Born in the same city in Colombia but not related, Andrés Escobar and Pablo Escobar shared a fanatical love of soccer. Andrés grew up to become one of Colombia's most beloved players, while Pablo became the most notorious drug baron of all time. While adeptly investigating the secret marriage of crime and sports, Michael Zimbalist and Jeff Zimbalist (Favela Rising, TFF '05) reveal the surprising connections between the murders of Andrés and Pablo.

Featuring: Andrés Escobar, Pablo Escobar, Carlos "Pibe" Valderrama, César Gaviria, Faustino Asprilla, Alias Popeye

Waiting for "Superman", directed by Davis Guggenheim, screenwriters Davis Guggenheim, Billy Kimball. (USA) - Feature Documentary

The filmmaker, production company and studio behind the Oscar-winning global warming manifesto "An Inconvenient Truth" tackle an even more immediate crisis - the failure of the American public schools. Using the stories of five young students and their hopeful families to illustrate enormous problems involving powerful teachers' unions and weak politicians, it's clear there are no easy answers.

Featuring: The Black Family, Geoffrey Canada, The Esparza Family, The Hill Family, George Reeves, Michelle Rhee, Bill Strickland, Randi Weingarten

SPECIAL SCREENING

A Throw of Dice (Prapancha Pash), directed by Franz Osten, screenwriters Niranjan Pal, W.A. Burton, Max Jungk. (India, U.K.) - Feature Narrative

Nitin Sawhney, one of the most versatile and sought after composer s and producers alive today, has composed an original soundtrack to accompany the 1929 silent film, A Throw of Dice by acclaimed German director Franz Osten. Describing the story of a craps game between two Indian kings for the hand of a poor beauty, the film features thousands of extras and exotic animals, combining the spectacle of a Cecil B. DeMille biblical epic with an early Bollywood sensibility. The soundtrack will be performed by the Qatar Philharmonic Orchestra (QPO) along with Nitin Sawhney and his key musicians.

Cast: Seeta Devi, Himansu Rai, Charu Roy, Modhu Bose, Sarada Gupta, Tincory Chakrabarty, Lala Bijoykishen

ARAB SHORT FILM COMPETITION

3 Hours, directed by Regan Hall, screenwriter Sam Snape. (U.K., Jordan)

An afternoon football game unexpectedly turns into a gruesome bloodbath in this revenge tale based on an actual 2007 crime. After militants gun down a group of children playing in an otherwise quiet Baghdad suburb, the brother of one victim seeks vengeance while the entire community turns on itself.

Cast: Mohammed Jawal, Rafat Basel, Naseem Baha, Diana Adel, Abdullah Amer

A Film, directed and written by Hisham Bizri. (Lebanon)

A trapeze artist, a snowy street, a fashion runway, a passing woman, a crowd of onlookers. With these and other overlapping, hazy images, there is a metaphorical outpouring of nostalgia, dreaminess, love. This black-and-white tone poem, accompanied primarily by solo piano, is a strange but affecting hallucination.

Cast: Hisham Bizri

Fiasco, directed and written by Nadia Hamzeh. (USA)

Cultural conflicts over marriage, immigration and sexuality are lampooned in the story of Noura, an Arab girl in the U.S. who pretends to be married to her gay friend Daniel so she can obtain a green card and stay in America. Everything seems to be going well until her conservative and overbearing father makes a surprise visit.

Cast: Nadia Hamzeh, Navid Negahban, Chris Payne, David Mate, Melissa Labatut, Dominic Conti

The Fifth Column (Hinkerort Zorasune), directed and written by Vatche Boulghourjian. (Lebanon, USA)

This half-hour slice of cinema, set in the Armenian quarter of Beirut, involves a son who steals his father's gun and the emotional mayhem that ensues. Family, politics, personal freedom and other themes weave through this narrative, along with the evocative atmosphere of the Bourj Hammoud district itself.

Cast: Harry Simitian, Vartan Megeurdichian, Manuel Markarian, Marie-Rose Manougian, Berge Fazlian

God's Hand (Mano de Dios), directed and written by Adolf El Assal. (Luxembourg)

An Argentinean immigrant living illegally for nearly half his life in Luxembourg must struggle daily for survival. Inspired partly by a quote from the late American auteur Orson Welles, the film depicts a loner who must fight his way out of the illusion that no one else exists around him.

Cast: Godié, Nilton Martins, Sascha Ley, Gilles Soeder, Nytt, Cico

Missing (Khaberni Ya Taer), directed by Sirwar Zirkly. (Syria)

A TV show called "Missing" is tasked with finding a viewer's sister, but when she is discovered the brother kills her live on the air. This Arabic drama with English subtitles packs a strong message in little more than 16 minutes.

Once (Marra), directed and written by Nayla Al Khaja. (United Arab Emirates)

This short traces a day in the life of an Arab teenage girl as she gets ready for the initial meeting with the boy of her dreams. We see her transform from a child to a woman, taking risks and telling lies, in order to find what she imagines must be true love.

Cast: Nifin Ghazar Al Din, Hammad Bassim Al Khalif, Shahad Mesk, Bassim Sami Al Khalif

Solo, directed by Laila Samy. (Egypt)

Egyptian filmmaker Laila Samy spends six minutes exploring the crushing pressures of agoraphobia which must be overcome to satisfy a desire for rich, dark, seductive chocolate. Not a single sliver of sweetness in the entire house and a fear of going outside? It's a rueful affliction but one that must be dealt with.

About the Doha Tribeca Film Festival

As the Doha Film Institute's (DFI) annual celebration of all things film, the DTFF is a community-minded five-day event that showcases the best of Arab and international films. The Festival also reflects DFI´s film financing and year-round educational arms with industry programs and filmmaker events designed to fulfill DFI´s mission of empowering storytellers and building a long term film industry in Qatar. Launched in 2009, the Doha Tribeca Film Festival reflects a successful cultural partnership between DFI and Tribeca Enterprises (TE).

Based on DFI and TE’s common aim to promote the influence of cinema, the importance of community culture and the need for arts education, the Festival provides an annual platform that celebrates the wonders of film appreciation and entertainment from every corner of the globe.

About the Doha Film Institute

The Doha Film Institute, founded in 2010 by H.E. Sheikha Al Mayassa bint Hamad bin Khalifa Al-Thani, is Qatar’s first international organization dedicated to film education and entertainment. Its initiatives include funding film and television productions, year-round teaching and film appreciation programmes, as well as the annual Doha Tribeca Film Festival. DFI’s cultural partners include New York’s Tribeca Enterprises, Martin Scorsese’s World Cinema Foundation and Mira Nair’s “Maisha” Filmmaker Labs. Along with its Founder, DFI leadership includes Executive Director Amanda Palmer, Managing Director Maggie Kim, H.E. Sheikh Mohammed Bin Fahad Al-Thani, H.E. Dr. Hassan Al-Nimah and H.E. Sheikh Jabor Bin Yousuf Al Thani.

Our website www.dohafilminstitute.com is a multimedia portal that features streaming video, online education, specialized film programmes, filmmaker interviews, festival reports, photo galleries, financing information, useful links and a regularly updated blog filled with the latest news about the Institute and its programmes.