At the Cannes 2025 Film Festival (Instagram), there was a big win and debuts from MENA filmmakers to celebrate as the regional industry continues to grow and innovate.
The Big One: Jafar Panahi Wins Palme d’Or
It Was Just an Accident (pictured above) — a garage, a former torturer, and a man who won’t let the past stay buried. That’s the premise of Jafar Panahi’s new film, and it earned him the top prize. It’s quiet, sharp, awkward in all the right places. It’s also the best work he’s done in years, and Cannes gave it the recognition without hedging. A solid film, winning on its own merit.
Arabic Thrillers That Don’t Explain Themselves
Tarik Saleh brought Eagles of the Republic — the final film in his Cairo trilogy. Made with Nordic backing but entirely in Arabic, the film doesn’t slow down to contextualise its politics for anyone. It assumes you’ll catch up. It’s gripping, fast, and cut like a razor. Think less “international cinema,” more: if you know, you know.
Un Certain Regard Was Basically MENA Territory
This year, the section belonged to filmmakers from the region. Standouts:
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Aisha Can’t Fly Away by Morad Mostafa — Somali woman, Cairo side streets, gang pressure, zero romance. A sharp, tense portrait of survival.
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Once Upon a Time in Gaza by Tarzan and Arab Nasser — Three young men, 2007 Gaza, deadpan humour under siege. It won Best Director here, and it makes sense.
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Promised Sky by Erige Sehiri — Three Ivorian women in Tunis. No dramatic arcs, just the slow build-up of tension in everyday life. Exactly the kind of story most festivals ignore. Not this year.
Jerada, Saddam’s Cake, and Other Sides of the Story
In Directors’ Fortnight, L’Mina by Randa Maroufi took us to Jerada, Morocco. Tightly framed, precisely paced. Full of weight without saying much.
The President’s Cake by Hasan Hadi — A girl baking Saddam Hussein’s birthday cake. You read that right. It won the Audience Award and the Caméra d’Or. It’s funny, terrifying, and doesn’t ask for sympathy.
Off the Red Carpet: The Documentary Edges
In ACID, there were two standout projects:
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Put Your Soul on Your Hand and Walk by Sepideh Farsi — Shot entirely through video calls with Fatima Hassouna in Gaza. It’s immediate, visual, and full of presence.
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Life After Siham by Namir Abdel Messeeh — A son filming his mother’s absence over time. It stays close, never overreaches — and that’s where it lands.
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