Since its inception, the El Gouna Film Festival (GFF) has established itself as a key event for Arab cinema, particularly Egyptian cinema. Serving both as an international showcase and a working platform, it allows filmmakers not only to present their films but also to develop their projects through CineGouna, its dedicated industry platform. For its 8th edition, taking place from October 16 to 24, 2025, the festival has unveiled a diverse selection of Egyptian films reflecting several trends: the emergence of young directors making their first feature films, the return of filmmakers already recognized on the international stage, and a commitment to maintaining a balance between fiction and documentary.
Mohamed Siam and the Shift to Fiction
Among the films in competition, My Father’s Scent marks a turning point in Mohamed Siam’s career. The filmmaker first gained recognition with his documentaries: Whose Country?, selected at IDFA, and Amal, presented at Locarno and awarded at Thessaloniki and the Carthage Film Festival. In his previous works, he often explored youth, family, and power dynamics through narratives rooted in contemporary Egyptian society. With My Father’s Scent, he transitions to fiction for the first time, while remaining true to his recurring themes: the film centers on a father-son relationship strained by accumulated resentments and an intense night of revelations.
The casting of Kamel El Basha, Venice Golden Lion winner in 2017 for Ziad Doueiri’s The Insult, and Ahmed Malek, a young Egyptian actor gaining international recognition (Clash by Mohamed Diab, The Furnace by Roderick MacKay), reflects an intention to bring together multiple generations of performers. The project was identified early on by CineGouna in 2021, which provided development support. Its selection at El Gouna thus completes a journey that began four years ago within the festival’s professional framework.
Mohamed Rashad and a Debut Fiction Feature
With The Settlement, Mohamed Rashad makes his fiction feature debut after establishing himself in documentary filmmaking. His film Little Eagles (2016) had been noted for its political and intimate approach, tracing the story of generational activism. The Settlement draws this time on a real incident: the death of a construction worker, which his children refuse to accept as accidental. The story, structured as a thriller, confronts the protagonists with a difficult-to-establish truth.
Supported in 2024 by CineGouna, the project quickly secured partners in France, Germany, Qatar, and Saudi Arabia. The film had its world premiere in Berlin, in the Perspectives section, before arriving at El Gouna. For Rashad, it represents a significant milestone: presenting his first fiction film at a major European festival and then screening it in Egypt within a regional context that also emphasizes local production.
Yomna Khattab and Filmed Autobiography
In the documentary competition, 50 Meters by Yomna Khattab continues a deeply personal approach. The director films her relationship with her father and the emotional distance separating them. The title refers to the geographical proximity—barely a few dozen meters—that is not enough to bridge the internal gap. Far from a spectacular narrative, the film is constructed as an attempt at rapprochement through the image.
Premiered at CPH:DOX in the NEXT:WAVE section, 50 Meters aligns with a trend in contemporary documentary where the camera becomes a tool for introspection and familial repair. The project had been supported by CineGouna as early as 2021, demonstrating the festival’s early interest in such intimate approaches, which contrast with more direct cinematic styles.
Namir Abdel Messeeh: Returning After The Virgin, the Copts and Me
The second documentary in competition, Life After Siham, is directed by Namir Abdel Messeeh. The Franco-Egyptian filmmaker was first recognized with The Virgin, the Copts and Me, presented at Cannes in the ACID section and awarded at the Carthage Festival in 2011. That film already explored family and religious memory, combining a serious and playful approach to storytelling.
With Life After Siham, he turns to a more personal subject: his mother’s passing and the creative challenges it brings. Coproduced with France and supported by CineGouna in 2024, the film was shown this year at Cannes in the ACID section. By tracing his family history through the camera, Abdel Messeeh continues his singular work on the relationship between personal memory and collective narrative.
Out of Competition: A Debut Female Director
Out of competition, El Gouna will host the world premiere of Love Imagined by Sarah Rozik. The director interweaves the stories of a student, a woman experiencing a breakup, and a professor confronting grief. The film examines how love and loss shape ordinary lives.
The Role of CineGouna
A common element links four of the films in competition: all benefited from CineGouna’s support, whether for development or post-production. Since its launch, this platform has become a key tool for supporting Arab and Egyptian filmmakers, helping them secure international funding and structure their projects.
That My Father’s Scent, The Settlement, 50 Meters, and Life After Siham are now completed and circulating in festivals attests to the effectiveness of this support system. It also demonstrates GFF’s capacity to position itself not only as a showcase festival but also as an actor in the development of regional cinema.
On this topic, Marianne Khoury, the festival’s artistic director, stated:
“We are incredibly proud to announce that four films in our selection, 50 Meters, Life After Siham, My Father’s Scent, and The Settlement, are all alumni of our flagship CineGouna Funding platform!”
A Framework for Contemporary Egyptian Cinema
The 2025 programming confirms a clear orientation: highlighting a multifaceted Egyptian cinema that does not limit itself to dominant popular genres but also explores memory, family, justice, and emotions through more personal forms. The lineup includes established filmmakers such as Siam and Abdel Messeeh, transitional authors like Rashad, and new voices like Rozik.
Regarding this selection, Andrew Mohsen, GFF Head of Programming, noted:
“This year’s selection is a powerful testament to the vibrant creativity and diverse voices emerging from Egypt. We are particularly pleased to host a world premiere (Love Imagined), alongside films by both established directors and newcomers who are already making their mark on the international stage. It is an honor to celebrate their ability to capture the essence of the human experience. Together with Sarah Gohar’s opening film, Happy Birthday, we are thrilled to showcase the vitality and diversity of contemporary Egyptian cinema.”
For El Gouna, which will open with Sarah Gohar’s Happy Birthday, this 8th edition reaffirms the festival’s central role in the circulation of Arab cinema. The festival positions itself as a crossroads between local productions and international networks, between debut films and more experienced works.
Neïla Driss
