The eighth El Gouna Film Festival (GFF, 16-24 October) finds the festival on a steadier footing with a sharper sense of purpose — the result of two demanding years that redefined its priorities and reaffirmed its dual leadership under Executive Director Amr Mansi and Artistic Director Marianne Khoury. Together, they articulate the complementary visions of an executive drive to consolidate, connect, and expand the festival’s reach, and an artistic agenda to cultivate, renew, and inspire the film community.
For Executive Director Amr Mansi, the eighth El Gouna Film Festival marks a decisive moment in the festival’s trajectory, a moment that builds on the achievements of the past two years and tests its standing as a key international hub for Arab cinema. Mansi believes that true progress in this field lies not in competition but in partnership and collaboration — in working collectively to support filmmakers and help them reach audiences around the world.
According to Mansi, the festival today stands on the solid traditions that have defined its character from the beginning, while continuing to evolve with each new round. “We are building on the foundations laid over the past years,” he says. “After the year-long pause, our vision has become clearer: supporting the industry in all its dimensions is the festival’s top priority. Alongside CineGouna Funding and CineGouna Forum, which have been essential pillars since the beginning, we launched the CineGouna Market in the sixth round, and it has continued to expand. We also introduced the Festival Plaza, which became a central hub connecting filmmakers from Egypt, the Arab world, and beyond. Through the CineGouna Emerge programme, we have opened new opportunities for young filmmakers from across the country.”
This shift has not only brought in a younger and broader cross-section of filmmakers but also reshaped the festival’s identity, moving it beyond its early image as an elite event. Applications for the industry section have doubled, and new partnerships have been established with major organisations that share the festival’s vision. “We are seeing growing participation from around the world — filmmakers, juries and guests who come not only to watch films but to be part of the festival’s ecosystem,” Mansi adds.
That presence has also translated into a measurable impact. A project supported by CineGouna recently won the Final Cut Award at the Venice Film Festival, and around 14 films by Egyptian and Arab directors who have received GFF support over the years were screened at leading international festivals including Berlin, Cannes, Toronto, and Rotterdam. “It is an honor,” Mansi says. “It proves that our selection process works, and that our collaborations with production and post-production partners are leading to real results. These successes reflect not only the festival’s vision but the international industry’s confidence in our choices.”
Among GFF’s most visible achievements is the Festival Plaza, which quickly became a signature element of the festival’s experience: a space that brings together screenings, networking, and social interaction in a dynamic, inclusive setting. “Last year’s edition transformed the Plaza into the living heart for the festival,” Mansi explains. “This year, we’re refining and expanding that experience, with more art exhibitions, new design elements, and an enhanced CineGouna Market that encourages collaboration. Every detail is being improved to make the audience’s journey smoother and more engaging.”
Mansi emphasises the philosophical as well as the logistical side of this evolution. “Our goal is to create a festival that lives and breathes with its audience, a place where cinema, art, and conversation come together naturally. That energy is what makes El Gouna unique.”
Partnerships play a central role in that vision. “All our long-standing partners continue to support us, which is a strong sign of mutual trust,” he says. “This year, we’ve also added new collaborations we’re proud of. Our long-held motto, Cinema for Humanity, takes shape this year through a partnership with the United Nations, under which the festival will support a different UN agency each round. We’re starting with the World Food Programme, whose work will be highlighted across events and campaigns, beginning with the opening ceremony on World Food Day.”
Other key collaborations include Netflix and MBC, in addition to a three-year memorandum of understanding with ESLSCA University Egypt, focusing on empowering youth and creative talent through training opportunities and grants within the CineGouna Emerge programme. The partnership also includes student participation in the festival’s official publications, giving them direct exposure to the cultural and cinematic landscape. The Sawiris Cultural Foundation continues to sponsor the “Cinema for Humanity” award and direct backing of the Emerge programme and art exhibition.
Despite its achievements, maintaining and expanding the festival’s influence remains an ongoing challenge. “The financial aspect is always a major concern,” Mansi admits. “A festival on this scale comes at high costs, and even with strong support, funding remains a constant balancing act. We are operating in a region that’s seeing new, well-funded festivals like the Red Sea and Doha Film Festivals. But we don’t see this as competition, we see it as an opportunity for collaboration. Our relationships with these festivals are positive, and there’s real potential for joint initiatives.”
Marketing and global visibility are also key considerations. “We ask ourselves: how can we amplify our international presence? Our strength lies in the media attention the festival generates, the large and engaged audience we attract, and, of course, the magic of El Gouna itself: its energy inspires creativity.” This year’s collaboration with the Cairo International Film Festival and the Egyptian Film Commission, resulting in a joint pavilion at the Cannes Film Market that won the Best Pavilion Award, is an example of the kind of partnership that helps the festival overcome challenges and move forward.
Reflecting on the internal dynamics of the festival, Mansi highlights the value of having a young and passionate team. “We rely on a generation that truly loves what they do,” he says. “Their enthusiasm gives the festival a spirit unlike any other festival’s. We listen to them, give them space, and that openness keeps us dynamic.” He also praises the continued leadership of Artistic Director Marianne Khoury. “Having Marianne for the third consecutive year is a great strength. Her ideas are always innovative and deeply human, and together we find ways to bring them to life, even when resources are limited. Often, sponsors and partners rally around these ideas because they believe in them.”
Still, Mansi is realistic about the challenges of festival work. “It’s a field that demands constant renewal. Every year, new members join the team, and the timing right after summer makes it even harder with holidays and slower work rhythms. But we grow more experienced and more adaptable with each edition.”
The festival’s image in the media is another front where steady progress has been made. “We’ve succeeded in changing perceptions,” Mansi says. “People now understand that the El Gouna Film Festival isn’t just about red carpets, it’s about building an ecosystem for cinema. We began to see this shift last year, and it continues to grow strong. Media partnerships and broadcast channels play a big role in communicating that message.”
Looking ahead, Mansi envisions the eighth round as a step towards full international status. “We want guests to see El Gouna as a truly global festival,” he concludes. “Expanding our international participation adds depth to the exchange of ideas and opens new horizons for Arab filmmakers. The pause in 2022 and the difficult circumstances of 2023 were tests of resilience — but they also gave us perspective. That edition was a new beginning. This year, we are ready to see the results of everything we’ve worked for — a festival that stands stronger, more connected, and more committed than ever to the future of Arab cinema.”
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For her part, artistic director Marianne Khoury views El Gouna Film Festival as a living organism, one that is constantly evolving through reflection, experimentation, and collective effort. “In recent years, El Gouna Film Festival has refined the contours of its identity, with a stronger focus on both the industry and emerging talent,” she says. “The two are inseparably linked, requiring continuous effort and cumulative growth.”
This year, the festival deepens that approach by expanding its core industry initiatives, CineGouna Funding and CineGouna Forum, both launched in the first round — and by strengthening two of its youngest programmes: CineGouna Market and CineGouna Emerge. For Khoury, the expansion of these initiatives is not merely structural but philosophical: an affirmation of the festival’s long-term commitment to nurturing a sustainable ecosystem for filmmakers in Egypt and the Arab world.
“What sets El Gouna apart,” she notes, “is its ability to reassess itself constantly—both locally and internationally—and to adapt to the realities surrounding it.” That adaptability depends on a rare balance of flexibility and trust within the team. “At the heart of this management is trust, something I deeply value — particularly in my collaboration with the festival’s Executive Director, Amr Mansi, who consistently supports the initiatives I put forward and always finds ways to make them happen.” This synergy, she adds, has been key to transforming ideas into living projects, such as the CineGouna Market and CineGouna Emerge, both of which have grown into essential meeting points for filmmakers and audiences alike.
In its new phase, the CineGouna Market positions itself as a bridge for partnerships and collaborations across borders. “The Market continues to move forward by positioning itself as a key player in forging partnerships, deepening collaboration, and facilitating agreements between major film institutions at the national and international levels,” Khoury says. This edition also sees an expanded presence of the Egyptian Film Commission, following its remarkable showcase at Cannes, and consultations are underway to host Morocco as the Market’s Guest of Honor. With the participation of cultural centres and film representatives from around the world, she sees the Market as “a genuine platform for cooperation, one that promotes co-productions and facilitates the exchange of expertise and services across the film industry.”
Equally, the new edition of CineGouna Emerge reinforces what Khoury calls “the festival’s role as an active part of Egypt’s young filmmaking community.” She explains: “Over the past two years, we’ve managed to establish genuine connections with young people who are passionate about cinema, making El Gouna an attractive and supportive platform that offers training, cultural dialogue, and opportunities for development and networking.” The continuity of that connection is central to her vision: “Nurturing this community goes beyond hosting events; it involves tracking their progress and creating programmes that support them at every stage.” She adds with quiet pride that some of the young talents who participated in previous rounds are now returning as mentors for the next generation.
For Khoury, a festival’s true value lies in its long-term impact on the film industry. “The measure of a festival’s standing is not only in its films but in its contribution to the wider filmmaking community,” she says. The success of CineGouna Funding over the years — reflected in 14 supported films appearing at major international festivals — signals that the model works. But she believes it must now evolve. “Support today is no longer about temporary grants or awards. It’s about building relationships that last, through film labs that accompany projects from inception to completion, support funds that provide both financial and logistical backing, and year-round capacity-building programmes.”
She envisions El Gouna as a space that fosters loyalty through substance, not ceremony. “True loyalty now comes from tangible support, resources, mentorship, connections, that help bring films to completion,” she says. “It’s not about winning a prize and leaving; it’s about finding a place that supports your journey.” Her ambition is to develop a new model of sustained support: a film lab following projects from concept to distribution, a funding arm capable of real production investment, and a framework that uncovers new voices rather than relying on those already established.
This year also carries a symbolic resonance as the festival celebrates the centenary of Youssef Chahine. “We wanted to honor Chahine not only as a legendary director but as the godfather of autobiographical cinema in the Arab world,” she explains. Rather than presenting a traditional tribute, the festival approaches his legacy through influence, highlighting how his work inspired generations of Arab filmmakers to tell their own stories. “He opened the door for directors from Tunisia, Morocco, Algeria, and Egypt to explore themselves through cinema,” she says.
Part of the celebration is an ambitious exhibition curated by visual artist Shereen Farghal. “It’s conceived as a sensory journey,” Khoury says, “where visitors move through different stations representing phases of Chahine’s filmography — combining sound, motion, and archival material.” For her, this celebration also means revisiting Chahine’s portrayal of women. “He reshaped how women were seen in cinema — not just as characters on screen, but as creative partners in meaning and experience.”
Women’s presence, both behind and in front of the camera, continues to be central to El Gouna Film Festival’s identity. The festival opens with Happy Birthday, the debut feature of Egyptian director Sara Goher, recently announced as Egypt’s official Oscar submission, and features a record number of Egyptian films across its competitions and programmes. “It’s meaningful to open with a film by a young Egyptian woman director,” Khoury says. “It reflects both our commitment to new voices and our pride in the growing presence of Egyptian women in cinema.”
This year the Egyptian lineup is striking, with works by Mohamed Siam, Mohamed Rashad, Yomna Khattab, and Namir Abdel Messeeh appearing in the main competitions, alongside new short films and out-of-competition titles. “El Gouna has always been committed to first and second-time filmmakers,” Khoury affirms. “They represent new voices that deserve to be seen and heard.”
Beyond Egypt, the festival showcases powerful Arab and international films, including Jafar Panahi’s It Was Just an Accident, winner of the Palme d’Or, and A Poet by Simón Mesa Soto, which won the Un Certain Regard Jury Prize at Cannes. For Khoury, this diversity reflects a wider regional momentum that calls for cooperation rather than competition. “The abundance of festivals in the Arab world today is a good thing,” she says. “But it also means we must coordinate and collaborate more closely to ensure balance and complementarity.”
As for what she hopes this edition will achieve, Khoury points to a wider horizon. “The measure of our success is not only how we serve the local and Arab film community, but how we resonate globally,” she says. “Internationalism is not about the red carpet—it’s about engagement, about the exchange of ideas and values.” Under the festival’s long-standing motto, Cinema for Humanity, this year’s partnerships with UN agencies, Netflix, the Casting Society, and other global institutions aim to translate that vision into tangible collaborations.
Khoury also highlights the importance of conviction in cinema. “Internationalism today means taking a stand,” she says. “You cannot speak of a global festival without a position. Cinema is both resilience and conviction.” From Kaouther Ben Hania’s Four Daughters to Rashid Masharawi’s From Ground Zero, she points to filmmakers who have used their work as acts of defiance and empathy. “We are proud to continue this dialogue through the Window on Palestine programme and to welcome Palestinian director Mahdi Fleifel as the head of the Short Film Competition jury.”
In her view, El Gouna Film Festival has grown beyond being an annual event. It has become a cultural language shared across borders. “It’s now an integral part of the cinematic landscape — not only in Egypt but across the Arab world and beyond,” she concludes. “That’s the kind of impact we strive for and also the challenge that keeps us moving forward.”
* A version of this article appears in print in the 16 October, 2025 edition of Al-Ahram Weekly
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