At the Cannes Film Festival, the Arab Cinema Center (ACC) held a crucial panel on May 18th titled ‘Equity-Based Financing: Pioneering New Financing Avenues for Arab Cinema.’ The session, which took place on the Palais’ Main Stage, brought together some of the most influential industry experts and thought leaders in Arab cinema.
The Arab Cinema Center panel was moderated by Jamal Gomaa and included Rasha Imam, Founder of Yellow Camel Studios; Didar Domehri, Founder of Maneki Films; Ahmed Amer, Founder of A. A. Films; Soleil Gharbieh, Lebanese Programs Manager at the Arab Fund for Arts and Culture; Marco Orsini, Founder of the IEFTA; and Bashar Abu Nour, Director of Production Services at the Jordanian Royal Film Commission. Together, they provided valuable insights into the challenges and opportunities shaping the future of Arab cinema.
Budgets Before Dreams
Rasha Imam, founder of Yellow Camel Studios, made one thing clear: dreams alone won’t attract investment. The region’s filmmakers, she argued, need to present realistic, structured budgets that speak to private investors in a language they understand. According to Imam, investor interest is already there, but most are still unfamiliar with film as a business. She highlighted Saudi Arabia’s growing role in the sector, with around $180 million currently in circulation. But the funding is targeted and driven by returns, not sentiment. That money isn’t looking to fund passion projects — it’s looking for outcomes. Imam noted that although bundled financing structures don’t officially exist in Saudi Arabia, early conversations have already started. She also stressed the importance of navigating the system, which includes grants, soft loans, and private equity. The infrastructure is there. The challenge is helping filmmakers use it wisely.
Producers Must Speak Two Languages
Didar Domehri, founder of Maneki Films, argued that filmmakers and investors don’t need to choose between art and commerce. Instead, producers must act as translators between the two. She pointed to the importance of having a shared vision between the director and producer — one that understands both creative purpose and financial responsibility. It’s not enough to want to make a good film. It needs to make business sense, too.
Egypt’s Genre Problem
Ahmed Amer, founder of A.A. Films, turned the spotlight on Egypt’s limited film output. He explained how the dominance of comedy and action has stifled genre diversity and alienated audiences with broader tastes. Amer pointed to a few outliers, like Al-Hawa Sultan and Seeking Haven for Mr. Rambo, but said they remain exceptions. Streaming platforms have widened viewers’ access to global cinema, including Japanese films and unconventional narratives. Amer warned that unless Egyptian cinema expands its range, it risks losing its relevance both locally and internationally.
Not Every Film Should Chase Profit
Soleil Gharbieh, Lebanese Programs Manager at the Arab Fund for Arts and Culture, raised an often-overlooked concern. The increasing push toward private investment may sideline films with little commercial appeal but high cultural value. She questioned the long-term impact of turning all filmmaking into a business venture. Experimental films, she argued, may not yield box office returns, but they contribute to cinematic identity. Gharbieh emphasized that while it’s not the role of funders to solve this tension, a space must still be kept open for artistic risk and creative freedom.
Who’s Investing — and Why It Matters
Marco Orsini, founder of IEFTA, broke down investor motivations into three categories. There are those who support the arts out of passion, those chasing the glamour of film, and those interested in sustained creative partnerships. The last group, he argued, is the one Arab cinema needs most. Investors in the region must start thinking long-term. Quick returns and prestige might serve individual projects, but they do little to build a durable industry.
Governments Are Joining, But Slowly
Bashar Abu Nour from the Jordanian Royal Film Commission acknowledged that government support is growing, but patience is required. His organization, among others, is working to build connections between filmmakers and potential funders. It’s still a process. Resources exist — including locations, studios, and production capacity — but putting all the pieces together remains a challenge. Abu Nour was optimistic, but realistic: the foundation is forming, but it’s not yet stable.
What emerged from the Arab Cinema Center panel wasn’t a list of obstacles — it was a set of responsibilities. Filmmakers must become more financially literate. Producers must treat creativity and funding as part of the same process. Governments must streamline their support. Investors must stop looking for quick wins. The future of Arab cinema will not be built on hope or hype. It will be built on transparency, trust, and the understanding that this is not charity — it’s an industry.