16 Projects from the Arab World, Asia and Africa Selected for Feature Competition
The Red Sea International Film Festival (Red Sea IFF) has revealed the 16 films competing in its Red Sea: Competition strand for its fifth edition. The selected projects will screen at the Festival running from 4-13 December 2025, and will be in contention for the prestigious Yusr Awards presented at the Festival’s awards ceremony.
The competition honours all cinematic forms, from narrative to animation and documentary, featuring films from Asia and Africa, including the Arab world. It showcases innovative cinematic works, distinguished by powerful storytelling from both emerging and established voices. These works are celebrated with generous prizes awarded by an international jury, in recognition of global excellence in cinema.
This year’s selection includes seven films supported by the Red Sea Film Foundation’s ecosystem, including Saudi Arabia’s 2025 Academy Award submission HIJRA, directed by Shahad Ameen; A SAD AND BEAUTIFUL WORLD, a powerful drama by Cyril Aris tracing the everlasting bond of love between childhood sweethearts; Zain Duraie’s SINK, a debut feature that follows a mother struggling with her son’s unravelling mental state; and supernatural ROQIA by Yanis Koussim, set in Algeria’s Black Decade. Also supported by the Red Sea Film Foundation are the adult animation about an African child soldier ALLAH IS NOT OBLIGED, which premiered in Annecy, and the Kenyan documentary TRUCK MAMA.
Additional highlights include the world premiere of BARNI, Mohammed Sheikh’s debut drama set in Somalia about a missing child; the MENA premieres of TWO SEASONS, TWO STRANGERS, the Locarno Golden Leopard-winning Japanese drama from Sho Miyake; and LOST LAND, the first-ever Rohingya-language drama from Akio Fujimoto. Cherien Dabis’ ALL THAT’S LEFT OF YOU tells the tale of a Palestinian teenager swept up into a West Bank protest from the perspective of his mother, while STORIES is the highly anticipated new film of Abu Bakr Shawky and the Iraqi drama IRKALLA GLIGAMESH’S DREAM is directed by Mohamed Al-Daradji.
Antoine Khalife, Director of Arab Programmes and Film Classics, said: “We are expanding the perception of what Arab cinema can be with our 2025 Competition programme– selecting titles that are deeply rooted in their regions yet universal in feeling. We’re thrilled to be bringing the very best of filmmaking from the region, including the Saudi film Hijra, as part of a lineup that is reshaping our collective narrative by vital telling stories of resilience, migration, identity, and transformation with urgency and clarity. The filmmakers draw on their personal history and the history of their parents to tell us stories that span several years, stories about struggles, love of the land, love of music, their aspirations and those of their parents, and we are thus immersed in the history of the Arab world with all the transformations that have occurred over several decades.”
Fionnuala Halligan, Director Of International Programs, added: ‘Focused as we are on films from Asia and Africa for our Competition selection, we see this year a theme of being lost and found – evidently in films like BARNI, from Somalia, which focuses on a missing girl, to the plight of the Rohingya in LOST LAND. We are delighted to welcome our first ever Korean film in Competition, THE WORLD OF LOVE, alongside titles from China, Tajikistan and Kenya, complementing our wider programme of films from across the globe and continuing our commitment to creating cultural exchange through the medium of film. Our selection celebrates filmmakers who push the boundaries and expand the language of cinema – showing how creativity thrives when cultures meet.”
Red Sea: Competition
A SAD AND BEAUTIFUL WORLD
Country: Lebanon, United States, Germany, Saudi Arabia, Qatar
Cyril Aris
Born during a tragic massacre in Beirut, Nino and Yasmina are cosmically bound from childhood. Through shared hardships — Nino’s loss of his parents and Yasmina’s parents’ divorce — they forge an unbreakable bond. Yasmina, dreaming of escape, proposes a magical train ride to a remote island. Nino agrees, but their plan is shattered when she moves away. Fate reunites them 24 years later, and despite her cynical view of Beirut and life, Yasmina is captivated by Nino’s optimism. She falls in love, abandoning her emigration plans, and is swept away by their connection. This is a powerful tale of longing, love and destiny, portrayed by performances that remind us of the beauty of life when viewed through love’s lens.
ALL THAT’S LEFT OF YOU
Country: Germany, Greece, Jordan, Cyprus, Palestine
Cherien Dabis
This compelling family drama traces three generations of Palestinians from 1948-2022, revealing the profound impacts of the Nakba. The story begins in 1988 with Noor, a man who joins a protest that turns violent in the West Bank. Decades later his mother, Hanan, recounts her son’s story, starting with the 1948 expulsion of his grandfather from Jaffa. Amid the hardship, the family holds on to the hope of returning to their ancestral home. A love story between Hanan and her husband Salim serves as a beacon of light. Through intimate, moving performances, this film explores how trauma and heritage shape the bonds between a grandfather, a father and son, while filled with moments of joy, love and humour.
ALLAH IS NOT OBLIGED
Country: France, Luxembourg, Belgium, Canada, Saudi Arabia
Zaven Najjar
*Animation
Birahima, a 10-year-old boy, has lost both his parents. Orphaned and left to his own fate in Guinea, he sets out to find his aunt in Liberia, guided by Yacouba, a trickster griot. But their journey quickly plunges into the chaos of civil war. Caught between armed factions, superstition and religion, Birahima unwillingly becomes both a child soldier and a grigriman. With a raw voice, at once tragic and darkly humorous, he narrates without restraint the brutality of the world around him. Adapted from Ahmadou Kourouma’s cult novel, Allah Is Not Obliged is a powerful coming-of-age tale brought to life through bold animation, where irony and black humour shed light on violence, survival and the longing for freedom.
BARNI
Country: Somalia, Djibouti, United States of America (USA)
Mohammed Sheikh
Barni, the debut feature by Mohammed Sheikh, tells the poignant story of a nine-year-old girl who disappears after a wedding celebration in a quaint Somali village. Her 18-year-old sister, Amina, along with friends Hirsi and Geedi, embark on a courageous journey to the city to find her. The film explores the strength of family bonds, solidarity in adversity and the resilience of children in challenging social contexts. Through authentic storytelling, natural performances and a strong visual style, the film aims to immerse audiences in a world not often seen on screen. Barni looks at daily life and the struggles faced by Somali communities. Its power lies in transforming a tragic disappearance into a celebration of courage, loyalty and humanity.
BLACK RABBIT, WHITE RABBIT
Country: Tajikistan, United Arab Emirates
Shahram Mokri
Iranian filmmaker Shahram Mokri develops multiple plots strands this engrossing, multilayered, playful and skilled drama centering around Sarah, the victim of a suspicious car crash who is swaddled in bandages and at odds with her controlling husband. What turns out to be a film-within-a-film-within-a-film zooms out to include the remake of a classic Iranian movie in Tajikistan, an armourer worried about a prop gun and an actress looking for her big break. Of course, their fates collide through multiple fluid, bravura circular takes, often covering the same time frame, bold touches of magical realism — or are they sight gags? — and an eternal mystery. This spinning story is Tajikistan’s Oscar entry for this year.
HIJRA
Country: Saudi Arabia, Iraq, Egypt, United Kingdom
Shahad Ameen
A grandmother and her two granddaughters’ journey from Taif to Mecca. When the eldest granddaughter vanishes, the two remaining women travel north to find her, with their search highlighting the deep cultural and generational bonds between Saudi women. Set against the backdrop of the Hajj pilgrimage, Hijra portrays the intimate and emotional odyssey of these women, which evolves into a spiritual quest. Their journey carries the weight of an entire heritage and offers an emotional, powerful and insightful look at identity. Shot across eight Saudi cities, the film provides a deep dive into the nation’s rich cultural tapestry. Actress Khairia Nazmi infuses the story with profound emotion due to her strength and energy.
IRKALLA: GILGAMESH’S DREAM
Country: Iraq, United Kingdom, France, United Arab Emirates, Saudi Arabia, Qatar
Mohamed Jabarah Al-Daradji
Nine-year-old dreamer Chum-Chum and Moody, a tough 13-year-old, navigate the harsh streets of Baghdad. Moody is obsessed with escaping to the Netherlands with Chum-Chum and his sister, Sara. Things change when they meet Maryam, a fiery woman who has converted an old double-decker bus into a mobile school for street kids. After Maryam shows Chum-Chum an animation about the mythical hero Gilgamesh’s journey to the underworld, a new obsession takes hold. But Chum-Chum’s dream collides with a dark secret: Moody’s alliance with a ruthless militia leader and his plot to bomb protestors. Chum-Chum must now confront a brutal reality. Can one child’s mythical quest save his friend, or will Moody’s dark path consume them both?
LOST LAND
Country: Japan, France, Malaysia, Germany
Akio Fujimoto
In this quietly powerful, first-ever Rohingya-language feature, Japanese filmmaker Akio Fujimoto offers a haunting, intimate portrait of two siblings fleeing persecution in Myanmar. With nothing but vague directions and each other, nine-year-old Somira and her younger brother Shafi begin a harrowing journey to join an uncle in Malaysia, crossing borders by sea and land and navigating a world shaped by smugglers, fear and exploitation. With a cast of non-professional actors, most of whom lived refugee experiences, the film blends realism with lyrical restraint. Eschewing melodrama for quiet observation, Fujimoto captures the disorientation of displacement and the uncertainty of fragile hopes. Lost Land is a timely, deeply human reflection on survival, resilience and the Rohingya’s eternal search for a place to call home.
NIGHTTIME SOUNDS
Country: China
Zhang Zhongchen
Nighttime Sounds blends social realism with surrealist poetry to explore the emotional landscapes of women in rural China: their buried desires and muted cries for freedom, love and recognition. Eight-year-old Qing lives with her mother, while her father works in a distant city. One morning, Qing encounters a ghostly child searching for their missing mother. Through dreamlike imagery and a haunting soundscape, director Zhang Zhongchen weaves a powerful tale of memory, longing and the silence passed from one generation of women to the next.
ROQIA
Country: France, Algeria, Qatar, Saudi Arabia
Yanis Koussim
In 1993, a tragic car crash leaves Ahmed with amnesia. He returns to his home village where nothing seems familiar — even his family feel like strangers. His bandaged face terrifies his youngest child, while nocturnal visitors whispering litanies in an unknown language haunt him. Who are they? Why is Ahmed missing the index finger on his right hand? Why does his neighbor make him feel uncomfortable? In the present day, an aging Raqi (a Muslim exorcist) suffering from Alzheimer’s disease also has a missing index finger on his right hand that trembles ominously. With a surge of unexplained violence and the possessed speaking an unknown language, his devoted disciple fears an ancient evil will be unleashed.
SINK
Country: Jordan, Saudi Arabia, Qatar, France
Zain Duraie
Behind the facade of a perfect life, Nadia, a 40-year-old wife and mother of three, struggles with her marriage and a lost sense of self, leaving her emotionally detached. Her one true connection is with her eldest son, Basil, a brilliant but unsociable high school senior. When a violent outburst at school leads to his suspension, Nadia’s world crumbles. On the verge of burnout, she attempts to care for him, but as she battles her own crisis, she’s pulled into his undiagnosed mental illness. As his condition spirals, Nadia’s struggle to prove that her son is normal intensifies. The film is an intimate look into a powerful maternal bond and a portrait of unconditional love in the face of chaos.
THE STORIES
Country: Egypt, France, Austria, Sweden
Abu Bakr Shawky
In the summer of 1967 in Egypt, aspiring pianist Ahmed begins a long-distance friendship with Liz, his Austrian pen-pal. Their bond, met with suspicion by relatives, helps drive Ahmed’s pursuit of his dream: to perform in a public concert. As they navigate life’s joys and heartaches, their connection and shared ambition endure through the war, family drama and societal opposition they face in Egypt during the 1980s. The film, like Yomeddine, is infused with the director’s distinct personality, showing his talent for creating characters and dialogue that are touching and memorable. This is a vivid and authentic tribute to Egypt, capturing a love story filled with the innocence and ambition of a generation during a key period in Arab history.
THE WORLD OF LOVE
Country: South Korea
Yoon Ga-Eun
How do we rebuild our sense of self after deep emotional wounds? The World Of Love, the latest from Korean director Yoon Ga-eun, offers a moving portrait of a teenager navigating trauma with unexpected honesty and detachment. Jooin (Seo Su-bin), appears cheerful and outspoken, but her confidence masks a more painful past. Rather than focusing on suffering, the film explores resilience and the subtle power of reclaiming one’s own story. With understated direction and a remarkable performance from Chang Hyae-jin as Jooin’s mother, Yoon brings a lyrical sensitivity to the emotional terrain of family relationships and adolescence. Grounded and quietly courageous, The World of Love is a deeply human story of survival and the quiet triumph of emotional healing.
TRUCK MAMA
Country: Kenya, South Africa, Saudi Arabia, Netherlands
Zippy Nyaruri
(Documentary)
Truck Mama follows Eva, a single mother and truck driver in Kenya, who navigates dangerous roads to provide for her family. In a male-dominated world, she balances long hauls — including from Kenya to Sudan — calls to her children and daily challenges. This vibrant documentary explores resilience, courage and a mother’s unwavering love as she forges her own path. With breathtaking landscapes and a glimpse into East African life, Truck Mama is an inspiring tribute to women who defy obstacles to pursue their dreams.
TWO SEASONS, TWO STRANGERS
Country: Japan
Sho Miyake
Adapted from Yoshiharu Tsuge’s manga short stories from the 1960s, Two Seasons, Two Strangers follows Li (Shim Eun-kyung), a creatively blocked Korean screenwriter adrift in Japan. As she imagines a bittersweet seaside tale of two lonely youths crossing paths, a film-within-a-film unfolds onscreen and we realise her own emotional journey is mirroring theirs. Months later, in a snowy mountain village, Li finds connection with a solitary innkeeper, and slowly reclaims her voice, rediscovering purpose and the beauty of the understated. Filmmaker Sho Miyake distills transformation into its quietest form, where meaning clings to the ordinary and unravels in near-silence. The film explores relationships born of chance — not romance or friendship, but something softer, stranger and just as essential.
YUNAN
Country: Germany, Canada, Italy, Palestine, Qatar, Jordan, Saudi Arabia
Ameer Fakher Eldin
Haunted by a cryptic family parable, Munir (Georges Khabbaz) flees to a remote island to contemplate a drastic decision. Here he encounters the enigmatic Valeska and her rough, loyal son, Karl. With few words exchanged and quiet acts of kindness, suspicion dissolves, easing Munir’s burden and reigniting his desire to live. Much like the prophet Jonah, who was spit out by the sea and then returned to land, Munir finds himself a stranger in the world, struggling with alienation and aborted dreams. As his mother’s memory fades, he also struggles to recall a story about a cursed shepherd his mother told him. A captivating visual fable, the film immerses us in Munir’s consuming frustration.
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