🎬Why Don't We Win an Oscar? The Absence of Arab Cinema from Global Awards

Despite a cinematic history in the Arab world, specifically in Egypt, that spans more than a century, and even though Cairo was once dubbed "Hollywood of the East," our presence in the most important international film forums remains weak and marginal. No Oscar, no Palme d'Or, no Golden Lion, no Silver Bear!

So, where does the problem lie? Is it in the weakness of production? The superficiality of the topics? Or the absence of a strategy? Why don't our films reach a global audience, even though we technically and artistically possess all the tools available to international cinema?

We Have the Tools… But Where is the Vision?

Today, many Arab countries possess incredible production capabilities. We have modern cinema cameras (RED, ARRI Alexa), state-of-the-art studios, editing and visual effects software that rivals Hollywood, and highly professional actors, some of whom have already won international awards like Rami Malek, Ferial Youssef, and Amal Clooney (through international artistic or documentary works).

Despite all this, Arab cinema is absent from the official lists of major competitions.

The Absence of the Oscar… A Cinema That Doesn't Compete

To this day, no Arab film has won the Academy Award for Best Foreign Language Film (now called Best International Feature Film), with the exception of a few honorary nominations, such as:

• "Theeb" (Jordan) – Nominated in 2016

• "Capernaum" (Lebanon) – Nominated in 2019

• "Where Do We Go Now?" by Nadine Labaki – Not officially nominated but received global acclaim

As for Egyptian cinema, despite its previous nominations (such as "Al-Masir," "Al-Bidaya," and "Al-Mohajer"), it has not yet come close to the final list.

The Palme d'Or… Rare Adventures

Even at the Cannes Film Festival—one of the largest and most prestigious film festivals—no Arab country has won the Palme d'Or (with the exception of a single Algerian film in 1975, "Chronicle of the Years of Fire" by Mohammed Lakhdar-Hamina). Our participation in the official competition is rare and sometimes goes unnoticed. This means that the crisis is not just about the Oscar, but about our international presence in general.

Why Aren't Our Films Seen on the World Stage?

The answer is not simple, but it consists of several interconnected reasons:

1. Weak Narrative Vision: Most of our films revolve around repetitive themes (thuggery, neighborhood life, quick jokes, melodrama) and do not offer a deep human perspective or a different narrative.

2. Rushed Writing: There is no genuine interest in developing the script. Most films are written quickly, without research or workshops, often to please the market, not to create a film that endures.

3. Repetition and Lack of Boldness: It's rare to find an Arab film that breaks taboos or presents a bold philosophical or symbolic treatment. International cinema, especially at festivals, seeks boldness and experimentation.

4. Weak Artistic Marketing: Reaching the Oscars or Cannes is not just about a good film; it's about a system of distribution, international relations, agents, and artistic promotion. This is what we completely lack.

5. Absence of a Strategic Vision for the Film Industry: Almost all productions are individual, commercial, or random, without a national plan for cinema as a soft power.

The Paradox: We Have Everything… And We Lack the Essence!

We have the technology, talent, money (in the Gulf and with some major producers), and an audience. But we lack the two most important elements:

• The Message: Do we have something to say to the world? Does our film reflect the essence of Arab society? Does it carry a human dimension that makes anyone in Paris or Tokyo feel connected to the story?

• The Craft: Cinema is a mix of art and industry. This requires developing the script, visuals, music, actors, and rhythm with true professionalism.

Examples of Successful Countries:

• South Korea: Achieved global recognition through bold cinema like Parasite, which won the Oscar and the Palme d'Or without losing its identity.

• Iran: Despite sanctions and politics, it presented a wave of realistic cinema that made its films permanent guests at Cannes and Berlin.

• India: Moved beyond the shadow of Bollywood to present independent cinema that reached international forums.

What Should We Do?

1. Establish Support Funds for Script Development: Residency programs for writers, writing workshops, official competitions, and support for bold films.

2. Support Independent Cinema: Produce films for a global audience, not just a local one.

3. Collaborate with International Distributors: Partner with companies like Pyramide, Memento, and Wild Bunch to take the film to festivals and markets.

4. Launch a National Cinema Project: Under the umbrella of a ministry of culture or an independent entity, with the goal of creating a plan to transform cinema into a source of soft power and international influence.