During the 78th Cannes Film Festival, running from 13 to 24 May along the storied shores of the French Riviera, Egypt made a celebrated return to the international stage after a ten-year hiatus
The Egyptian pavilion outshone entries from 150 nations, including industry giants like the United States, China, and France, clinching the coveted Best Pavilion Design Award on 17 May.
The pavilion was organized by the Cairo International Film Festival (CIFF), El Gouna Film Festival, and the Egyptian Film Commission (EFC). Its recognition highlights Egypt’s renewed commitment to reclaiming its place in the global film arena after a decade-long absence from the festival’s Un Certain Regard competition since Clash in 2016.
“This award is a global recognition of the position Egyptian cinema occupies today, and of the continuous efforts we make to represent it in international contexts,” the President of CIFF, and the veteran actor, Hussein Fahmy, stated, noting that the pavilion embodies collaborative spirit and signifies a renewed phase in Egypt’s role within the international film industry.
The Egyptian pavilion, envisioned by acclaimed Egyptian art director Sherine Farghal, garnered acclaim for its innovative design, merging traditional elements with contemporary aesthetics.
The jury, composed of industry experts including Cannes Makers alumni Yi Chou, Brazilian film critic Elaine Guerini, and Series Mania’s Leticia Godinho, were impressed and praised the pavilion’s “beautiful balance of history and presence, and for incorporating a small movie theatre into its design to tell their cinema history and confirm their presence in the industry today.”
Farghal’s vision transformed the space into an immersive mini-cinema, where visitors were treated to a curated reel tracing the legacy of Egyptian cinema.
Mirrored walls on either side of the screen reflected moving images, enveloping guests in a dynamic tribute to Egypt’s film history. The installation featured scenes from classics such as Youssef Chahine’s Bab Al-Hadid (Iron Door, known as Cairo Station, 1958) and Al-Mohager (The Emigrant, 1994), Radwan El-Kashef’s Arak el-balah (Date Wine, 1998), Shady Abdelsalam’s Al-Mummia (The Night of Counting the Years, 1969), Kamal El-Sheikh’s Gharam Fi Al-Karnak (Love in Karnak, 1967), and Hayah Aw Mout (Life or Death,1954), and Henry Barakat’s Shati el gharam (Shore of Love, 1950).
What set the pavilion apart was its ability to serve as both a cultural showcase and an industry hub. The space was alive with discussion panels, pitching sessions, and workshops, all designed to foster collaboration between Egyptian and international filmmakers.
The programming featured a number of events, such as “From Hollywood to Cairo: Bridging the U.S. and Egyptian Film Industries,” alongside sessions focused on linking Arab film festivals and cultivating new talent. The lineup reflected Egypt’s broader strategy to establish itself as a central production hub and a nexus for regional and global industry partnerships.
While Egypt took the top honor this year, the Pavilion Design Award at Cannes has a tradition of spotlighting exceptional creativity. In previous years, Spain’s pavilion was lauded for its vibrant, information-rich design, while New Zealand’s and SEE Netherlands’ pavilions received special mentions for their inventive use of technology and artistic references, such as Rembrandt and Mondrian.
This year, the pavilions of Iraq, Estonia, and the United Kingdom also earned special mentions for their distinct design and welcoming atmosphere, further illustrating the diversity and innovation that define the Marché du Film’s International Village.
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