{"id":34360,"date":"2026-11-10T17:09:00","date_gmt":"2026-11-10T16:09:00","guid":{"rendered":"https:\/\/lamostradevalencia.com\/?p=34360"},"modified":"2026-11-10T17:11:57","modified_gmt":"2026-11-10T16:11:57","slug":"the-family-as-a-line-of-defence-upcoming-mediterranean-cinema-seeks-partners-at-mostra-de-valencia","status":"publish","type":"post","link":"https:\/\/lamostradevalencia.com\/en\/the-family-as-a-line-of-defence-upcoming-mediterranean-cinema-seeks-partners-at-mostra-de-valencia\/","title":{"rendered":"The family as a line of defence: upcoming Mediterranean cinema seeks partners at Mostra de Val\u00e8ncia"},"content":{"rendered":"

Seven projects from Egypt, Lebanon, Tunisia, Palestine, Portugal, Spain and France have sought partners at the Mediterranean co-production forum<\/strong><\/p>\n

An unaffordable parking fine in Beirut, a father imprisoned over an old debt in Cairo, a Finnish clinic that claims to cure empathy, or a young man who discovers a woman in the sea with his mother\u2019s face. The stories presented at the fifth edition of Val\u00e8ncia Film Afers, the co-production forum of the 41st Mostra de Val\u00e8ncia-Cinema del Mediterrani, offer a picture of Mediterranean cinema to come: intimate, shaped by family and by the pressure of systems that stifle its characters<\/strong>. Following Monday\u2019s pitching sessions at Veles e Vents, open to accredited professionals, the teams spent two days in one-to-one meetings with European and Arab producers, sales agents and programmers, as well as representatives of the Valencian audiovisual industry.<\/p>\n

Fathers, and blood ties more broadly, run through almost the entire selection.<\/strong> Egyptian filmmaker Ahmed Sobhy<\/strong> follows a young man trying to free his father, imprisoned over a debt, in \u2018A Young Man in Trouble\u2019; his compatriot Ahmed Samir<\/strong> imagines the life his mother might have led before losing a child in \u2018Beaufort Scale\u2019; and Lebanese director Karim Kassem<\/strong> places a father at his comatose daughter\u2019s bedside in \u2018Before Now, Later\u2019. In \u2018Super Sila\u2019, Gaza-born Mohammed Alshareef<\/strong> turns his little girl into a superhero to protect her from the war; in \u2018The Corner Where I Met You\u2019, Italian-Tunisian filmmaker Yasmine Bouabid<\/strong> questions the social pressure surrounding motherhood; and in \u2018Vincent, Serge and the Others\u2019, Bruno Morat<\/strong> portrays his uncle, who has been convinced for three decades that he owns a Van Gogh.<\/p>\n

Set against these bonds are systems that stifle the characters: inherited debt in Egypt, Lebanon\u2019s Kafkaesque bureaucracy, or the Finnish clinic in \u2018Capricorn Syndrome\u2019, in which Portuguese filmmaker Miguel Munh\u00e1<\/strong> imagines a treatment to remove empathy, inspired by a remark by Elon Musk. \u201cIt began as an absurd premise and, over time, it has come to feel almost like a documentary,\u201d he said.<\/p>\n

Newcomers and veterans, at different stages<\/strong><\/p>\n

The event brought together filmmakers with very different backgrounds and projects at widely varying stages of development. \u2018A Young Man in Trouble\u2019 is Sobhy\u2019s debut feature and the first feature from Handprint Films, a company founded in 2017 that has already co-produced with the United Kingdom, France, Saudi Arabia and Qatar, and has the backing of the Doha Film Institute and El Gouna Film Festival. Supported by the Sawiris Foundation\u2019s Best Screenplay award and its participation in the Doha Producers Lab, the project will have its second draft ready in January, plans to shoot in winter 2028 and has a budget of around \u20ac750,000. Its producer, Perihan Mousa, is seeking \u201ca co-producer who understands the substance of the story and commits as a trusted ally\u201d, as well as sales agents and distributors from this early stage. \u2018Beaufort Scale\u2019 is also in its early stages: it has just completed its first draft following a writing residency in Siwa with mentors Santiago Fillol and Tobias Pausinger, while its director experiments with Super 8 and his latest short competes at Interfilm Berlin.<\/p>\n

At the other end of the spectrum, Karim Kassem arrived with his sixth feature in five years, a regular presence in the Mostra competition and the Crystal Globe for Best Actor won at Karlovy Vary by a non-professional performer in his work. \u2018Before Now, Later\u2019 is on its sixth draft, has initial funding and in-kind support, and aims to shoot next winter. Faithful to his method of working with non-professional actors and a static camera, the filmmaker expressed openness to the demands of a co-production: \u201cEverything is negotiable; in our industry, maintaining a diplomatic approach is essential.\u201d What matters, he said, is the truth of the performance: \u201cThe key is knowing whether you are lying just enough to tell the truth.\u201d<\/strong><\/p>\n

The most advanced financing plan came from \u2018Capricorn Syndrome\u2019, produced by David & Golias, the company Fernando Vendrell founded 32 years ago, with which he has won at Sundance and made one of Portuguese cinema\u2019s biggest box-office hits, \u2018Varia\u00e7\u00f5es\u2019. With a budget of \u20ac1.6 million and 25% already secured, the project is applying for \u20ac500,000 in Portuguese funding for debut features, which, combined with public television funding and tax incentives, would bring the Portuguese contribution to around \u20ac800,000. Already in contact with Finland\u2019s Aamu Film Company and with a cast including Eero Aho, Laura Birn, Joana B\u00e1rcia and Isabel Abreu, it is seeking co-producers outside Portugal, a sales agent and international distribution. It also makes the case for shooting in Portuguese, Finnish and English: \u201cAgainst the backdrop of standardised English-language productions, the clash of languages is a defining feature of its identity, reflecting multicultural Europe.\u201d<\/strong> The moderator described its financing plan as \u201cimpeccable and entirely viable\u201d.<\/p>\n

The challenges extend far beyond the figures in \u2018Super Sila\u2019, which arrives with the two top industry awards from this year\u2019s Cannes market and is already entering post-production. With its director unable to leave Gaza, the team has installed solar panels to ensure a power supply and established a system for transferring footage to France. Its producer, Alaa Darwish<\/strong>, who has more than 25 years of industry experience, is seeking co-producers, distributors, funds and sales agents, \u201cparticularly in the Mediterranean region, united by the same sea that caresses this coast and Gaza\u2019s\u201d. Receiving the first images, he recalled, took him back to his childhood during the First Intifada: \u201cForty years later, another Palestinian father in Gaza is forced to resort to the same method to save his little girl\u2019s soul.\u201d<\/strong> \u2018The Corner Where I Met You\u2019, meanwhile, proposes a mixed model: its production company, which specialises in debut films by emerging Tunisian talent, will first seek funding from Tunisia\u2019s Ministry of Culture, an essential step towards accessing international funds, and complete the budget with commercial sponsorship drawing on Bouabid\u2019s popularity as an actress in the Arab world. In Val\u00e8ncia, it was seeking co-producers, script consultancy, development labs and sales agents.<\/p>\n

The Valencian contribution came from \u2018Vincent, Serge and the Others\u2019, a creative documentary co-produced by Valencia\u2019s Barret Cooperativa and France\u2019s La Petite Ellipse. The partnership began over coffee at the Berlinale market, where the French producer was looking for a Valencian partner for a story set in X\u00e0l\u00f3. The project received support from the CNC\u2019s innovation fund and the Atelier des Artistes during the writing stage, and from the CNC itself during development. It was also one of four projects selected in France this year by the auteur documentary platform T\u00ebnk. With two-thirds already shot, it is now seeking distribution and additional international co-producers, and its director plans to work with a composer on an original score, illustrating the bridge the forum is building with film music this year.<\/p>\n

From the pitch to the negotiating table<\/strong><\/p>\n

The presentations were followed by face-to-face meetings on Monday afternoon and Tuesday morning with industry guests, including French-Tunisian producer Nadim Cheikhrouha<\/strong> (Tanit Films), France\u2019s Marc-Beno\u00eet Cr\u00e9ancier<\/strong> (Easy Tiger Films), Queralt Pons Serra<\/strong>, co-founder and managing partner of sales agency MoreThan Films, Lebanese programmer Chadi Zeneddine<\/strong> (Cairo Film Connection), Egyptian cultural manager Sara Nour<\/strong>, Belgium\u2019s Katleen Goossens<\/strong> (Bulletproof Cupid) and Germany\u2019s Karoline Henkel<\/strong> (Wood Water Films). \u201cThe Mostra\u2019s focus on Mediterranean cinema is something we are trying to broaden. It is quite unique among forums in Spain, because there is no comparable focus on territories we do not usually connect or work with as much as we should,\u201d said Pons, who highlighted the quality of the selection: \u201cThe projects have already been through other workshops, and the filmmakers arrive with experience behind them, some with a short and others with their sixth film. The standard is very high.\u201d<\/p>\n

The forum\u2019s director and coordinator, Nadia Hotait Salas<\/strong>, puts the number of meetings held over these days at more than 120. The final selection of seven projects from around fifty submissions was based on artistic and creative criteria: \u201cHow original or interesting the project is, how appealing it is to an international audience, how it connects with the Mediterranean and its audiences, the production company\u2019s track record and the director\u2019s previous work.\u201d This year, she explains, there has been \u201ca stronger Arab presence\u201d and a smaller Valencian one than in the previous edition, \u201cwithout excluding projects on the basis of their origin\u201d. \u201cThe aim is for our invitations to professionals to see the projects to lead to co-productions, and to encourage the Valencian industry to get involved in projects that foster synergies between countries, including less familiar partnerships. The idea is to support projects with a voice of their own.\u201d<\/p>\n

After five editions, Val\u00e8ncia Film Afers is beginning to bear fruit. \u201cJust today, I was told that a project due to start shooting in September began here, through contact between producers via a production company that attended the forum,\u201d said Hotait. She recalled that \u2018Calle de los \u00c1ngeles\u2019, in this edition\u2019s Official Selection, and \u2018El color verde\u2019 previously took part in Val\u00e8ncia Film Afers, while other selected projects have subsequently premiered at IDFA or Cannes\u2019 Directors\u2019 Fortnight. \u201cI think we have discovered or supported projects that are going on to have an interesting life or development.\u201d<\/p>\n

The organisers, supported by the Institut Valenci\u00e0 de Cultura, have stressed the importance of forging these partnerships both with international guests and with members of the Valencian industry present in the room, who also took part in a Val\u00e8ncia Film Office activity on Monday. The programme concluded on Tuesday with two professional sessions: \u2018When Music is Part of the Story\u2019, with Ar\u00e1nzazu Calleja<\/strong>, and a conversation with Nadim Cheikhrouha about working with filmmakers and growing alongside them.<\/p>\n","protected":false},"excerpt":{"rendered":"

Seven projects from Egypt, Lebanon, Tunisia, Palestine, Portugal, Spain and France have sought partners at the Mediterranean co-production forum An unaffordable parking fine in Beirut, […]<\/p>\n","protected":false},"author":10,"featured_media":34205,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","_jet_sm_ready_style":"","_jet_sm_style":"","_jet_sm_controls_values":"","_jet_sm_fonts_collection":"","_jet_sm_fonts_links":"","footnotes":""},"categories":[456],"tags":[],"class_list":["post-34360","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"yoast_head":"\nThe family as a line of defence: upcoming Mediterranean cinema seeks partners at Mostra de Val\u00e8ncia - Mostra de Val\u00e8ncia<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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