Rotterdam and Alexandria Festival Programmers on What Gets a Movie Accepted and Why Rejection Isn’t a Verdict on Quality

Rotterdam and Alexandria Festival Programmers on What Gets a Movie Accepted and Why Rejection Isn’t a Verdict on Quality hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 30, 2026 10:37am PT Rotterdam and Alexandria Festival Programmers on What Gets a Movie Accepted and Why Rejection Isn’t a Verdict on Quality By Essie Assibu Plus Icon Essie Assibu Latest Emirati Filmmakers on Building a Local Cinema Ecosystem: ‘We Have a Long Way to Go’ 3 hours ago Sharjah Film Festival Partners With UAE’s Media Authority in Push to Assist Emerging Filmmakers 4 days ago Egyptian Cinema Eyes Its Next Act as Industry Veterans Call for Better Scripts, Wider Distribution 5 days ago See All Add us as a Google Preferred Source Comments A film festival selection or rejection is not necessarily a verdict on a film’s quality. For programmers sorting through hundreds or even thousands of submissions, the decision can depend on everything from the balance of a lineup to the audience for which they are programming.

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That issue was at the center of “Film Festivals Decoded: What Happens After You Press Submit?,” a panel held this week during the 13th Sharjah Intl. Film Festival for Children and Youth in the UAE.

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Variety spoke further with two of its participants, Rotterdam Arab Film Festival artistic director Rosh Abdelfattah and Alexandria International Short Film Festival president Mohamed Mahmoud , about what actually shapes their decisions once submissions arrive. Related Stories Law Roach Wants to Try Acting: ‘If I’m Terrible at It, at Least I Tried’ Jennifer Lopez to Release New Single ‘Proof of Love’: ‘It’s a Happy Dance Song’ That Also Addresses ‘Pain and Grief When Someone’s Gone’ (EXCLUSIVE) For Abdelfattah, artistic quality is only one consideration when assembling a program.

Rotterdam’s festival aims to showcase cinema from across the Arab world, meaning the volume of films produced in different countries can itself affect a selection. “If I have a film from Sudan or a film from Egypt and they have the same level of artistic quality, and I have to choose one, I give the film from Sudan the opportunity and the stage,” he explains, since Egypt produces far more films than Sudan.

Abdelfattah is also looking for filmmakers who resist an increasingly familiar festival aesthetic. He points to the proliferation of labs, co-production programs and other development pipelines over the past decade, arguing that films can lose some of their individuality as they move through them.

“In each stage, they cut something,” he observes. “They lose the personal touch.” Navigating relationships with producers and co-producers therefore requires filmmakers to remain firm about what they are trying to make.

“You have to be very, very strong to protect your vision,” he adds. “It can be very difficult.” Mahmoud, meanwhile, sees one of the biggest problems occurring before programmers even watch submissions.

Filmmakers, he argues, too often submit without determining whether a festival is suited to their work. “A film that explores social issues might be submitted to a festival that focuses primarily on environmental themes or the natural world,” he notes.

“Why submit a film to a festival that does not align with its subject matter or artistic vision?” That makes distribution strategy increasingly central to the filmmaking process. “I believe that film distribution has become just as important as editing, cinematography, production and directing,” Mahmoud continues.

Whether filmmakers distribute their own work or work with professionals, he argues that they should consider premiere strategy, a festival’s programming priorities and whether its

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