Skip to content
PG

PANDA BEAR IN AFRICA

Genre
Animation and Comedy
Running time
89 minutes
Year
2024
Language
English
Subtitle
Arabic
Country
Denmark, Netherlands, France, Germany, Estonia and China
Director
Richard Claus, Karsten Kiilerich
Bio
Producer
Richard Claus, Chantal Nissen
Cast
Yootha Wong-Loi-Sing, Maurits Delchot, Namisa Mdlalose, Georgina Verbaan, Silas Lekgoathi, Candice Modiselle, Sthandile Nkosi, Thulani Nzonzo, Tom Hoffman, Adrian Pang
Scriptwriter
Robert Sprackling
When Panda Ping’s best friend, Jielong the Dragon, is kidnapped by a baboon and smuggled to Africa, Ping sets off from their forest home in South China to rescue him - stowing away on a junk ship, he lands in East Africa and gets captured. Alongside the monkey Jojo, Ping escapes, and they cross deserts and mountains facing down the hippopotamus, an army of meerkats and a suspicious hyena before discovering Jielong at the court of King Ade, a spoilt teenage lion. But Ade is not safe either: his uncle, evil Malume, is plotting to dethrone him and destroy the neighbouring jungle home of Niala, Ping’s new hyena friend. Ping is just one small panda. Can he save everyone?

Other movies

DESERT WARRIOR

Director: Rupert Wyatt

Rupert Wyatt's Desert Warrior is set in seventh-century Arabia at a time of feuding tribes vying for power and supremacy. Courageous Princess Hind (Aiysha Hart) refuses to serve as concubine to the merciless Sassanid Emperor Kisra (Sir Ben Kingsley). Escaping with her father, King Numan (Ghassan Massoud) into the vast and unforgiving desert, Princess Hind is pursued by Kisra’s mercenary, Jalabzeen (Sharlto Copley) and his bloodthirsty troops. Father and daughter are forced to trust a mysterious bandit (Anthony Mackie). Against all odds, Princess Hind unites the fractious tribes against the powerful invading military of the Sassanid Empire. In an epic showdown, the Battle of Ze Qar will forever change the Arabian Peninsula and echo throughout history.

SIRÂT

Director: Oliver Laxe

‘Sirat’ is a term referring to the treacherous bridge between heaven and hell. Oliver Laxe’s film is certainly an odyssey and a sonic spectacular: his hypnotic rhythms carve a path for this temporal road movie in which Sergi López plays a father who has taken his son to search for their daughter/sister, missing in Morocco’s nomadic and quasi-feral rave scene. With an apocalypse taking place offscreen, the protagonist flees across a mythical landscape with a crew of non-professional actors. Sirât glimmers between sound and fury, pounds between loss and unfathomable grief, and leads audiences to what feels like the end of creation. Spain’s Oscar entry and 2025 Cannes jury prize winner is that rare cinematic achievement: an indelible gift of sound and vision. "This film contains scenes that may be considered sensitive for some viewers. Viewer discretion is advised"

IF I HAD LEGS I'D KICK YOU

Director: Mary Bronstein

Rose Byrne dominates in Mary Bronstein’s psychologically oppressive and compulsively dark story of a mother firmly on the edge. Both the actress and director take no prisoners as Linda (Byrne) appears in a cacophony of demands on her time as a wife, mother and (a barely functioning) therapist. Her sickly daughter is never seen, only a barrage of requests are heard, compounded by the ceiling that has caved in on her apartment, forcing Linda to move to a motel as her long-distance husband occasionally dials in. And one of her patients has disappeared. While the stress ramps up on screen, there is a catharsis to it all. Watch out for a deft cameo from A$AP Rocky.

SEVEN SUMMITS

Director: Amir El-Shenawy

Saudi adventurer Badr Al-Shibani embarks on a quest: to climb the highest peak on each of the world's seven continents. Seven Summits documents his journey, which is as much a test of survival as it is a personal voyage of self-discovery. From the most remote and toughest peaks to his ultimate challenge on Mount Everest, Al-Shibani's story is a powerful exploration of human resilience, the search for identity and the firm drive to push past both physical and internal limits.

الشروط والأحكام المتعلقة بتذاكر أفلام المهرجان

• التذاكر غير قابلة للاستبدال أو الاسترجاع، ولا يجوز إعادة بيعها.
• يُضمن حجز المقعد حتى 15 دقيقة قبل موعد بدء العرض أو الندوة.
• يُسمح بدخول المتأخرين وفق تقدير إدارة القاعة.
• يرجى العلم أن البرامج والجداول والمواقع قابلة للتغيير.
• قد يُطلب إظهار ما يثبت العمر في الأفلام المقيّدة بفئة عمرية محددة.
• يُمنع منعًا باتًا استخدام أجهزة التسجيل أو التصوير في جميع العروض والندوات.
• يمكن لحاملي الشارات إلغاء حجز التذاكر حتى 60 دقيقة قبل موعد العرض عبر التطبيق أو الموقع الإلكتروني أو من خلال شبّاك التذاكر.
• التذاكر غير المُلغاة وغير المستخدمة تُحتسب تحت حكم عدم الحضور .

للاستفسارات والاقتراحات، الرجاء التواصل معنا على البريد التالي:
customerservice@redseafilmfest.com

أو الاتّصال على الرقم التالي:
920051177

تنويه بشأن التصوير والتسجيل

تخضع جميع مواقع مهرجان البحر الأحمر السينمائي الدولي للتصوير الفوتوغرافي وتصوير الفيديو والتسجيلات الصوتية، ويُمكن عرض كل وأيّ مادة على وسائل التواصل الاجتماعي بغرض الإعلان والتسويق. لذلك ننوّه بأنكم وبمجرد دخولكم لِمواقع المهرجان، فأنتم توافقون على الظهور في جميع هذه المواد الإعلامية دون تعويض. 

RedSeaIFF Ticket Terms 

• Tickets are non-exchangeable, non-refundable, and cannot be resold.
• Seating is guaranteed up to 15 minutes before the start of the screening and panel.
• Late arrivals are seated at the Theatre Manager’s discretion.
• Programs, schedules, and venues are subject to change.
• Proof of age may be required for age-restricted films.
• Recording devices are strictly prohibited in all screenings and panels • Badge holders may release tickets up to 60 minutes before the screening via the app, website, or Box Office. Unreleased and unused tickets will count toward the No Show Policy.

For assistance, contact 920051177, customerservice@redseafilmfest.com, or reach us via the RedSeaIFF Mobile App.

 

Photography and Recording Notice

By entering any RedSeaIFF venue, guests acknowledge that photography, video, and audio recording may be taking place. All recorded material may be used by the Festival for social media, advertising, and marketing purposes. Attendance at the Festival constitutes consent to appear in such material and authorizes its use without compensation.