The Cannes Film Festival highlights lesser-known filmmakers who create exceptional work on smaller budgets.
This year was particularly noteworthy for Middle Eastern cinema. Iranian director Jafar Panahi won the prestigious Palme d’Or for his “Unsimple Accident” thriller, which was filmed without governmental approval.
Other notable awards included “Once Upon a Time in Gaza,” which won Best Director in the Un Certain Regard section, and Iraqi filmmaker Hassan Hadi, who took home the Camera d’Or for “The President’s Cake.” These accolades showcase the craftsmanship of Middle Eastern stories and the world’s hunger for authentic narratives from the Islamic region.
Only two South African films have been selected for Cannes’ Official Selection in its 78-year history. This year, Oliver Hermanus’ “The History of Sound,” a privately funded gay period drama starring Paul Mescal and Josh O’Connor, marked South Africa’s return to the festival. The first South African entry, Elaine Proctor’s “Friends” (1993), received an Honourable Mention for the Camera d’Or and was notable for its all-female creative team.
Inspired by Proctor’s legacy, I penned my screenplay for “Two Hues” and reached out to her for potential collaboration. To my delight, she expressed interest in directing, contingent on funding.
However, my requests were rejected despite Proctor’s involvement when I applied for support from South Africa’s National Film and Video Foundation (NFVF). Conversations with industry insiders revealed a troubling pattern: the NFVF has prioritised a select few producers and directors, leaving independent voices sidelined and raising critical questions about transparency and equitable practices within the funding process.
