Final Cut in Venice, which took place from 3-5 September, has announced the winners of its tenth edition. With this initiative, the Venice Film Festival intends to provide concrete support for the completion of movies hailing from Africa, Jordan, Iraq, Lebanon, Palestine and Syria, as well as giving their producers and directors the chance to present their films in progress to industry professionals and international distributors, with the ultimate aim of facilitating their post-production, fostering potential co-production partnerships and improving their access to market.

For the sixth year running, the Venice Film Festival has given out a prize worth €5,000 to the best film in post-production.

The jury for the La Biennale di Venezia Award, this year comprising Claire Diao (Sudu Connexion), Rasha Salti (ARTE France) and Gaetano Maiorino (True Colours), rewarded the film Inshallah a Boy [+lire aussi :
critique
bande-annonce
fiche film] by Amjad Al Rasheed (Jordan/Egypt/Saudi Arabia/Qatar), produced by Rula Nasser for The Imaginarium Films. As the jury members handed out the prize, they stated that they appreciated “the excellent directing and performances”; they also picked it “for tackling a highly pressing social issue and for honouring the resilience of women in a conservative context”. Further support received by the film came courtesy of Oticons (production of the soundtrack, with all related services, to the tune of €12,000), plus $5,000 from the El Gouna Film Festival to allow it to take part in the CineGouna Platform and €2,500 from the Fribourg International Film Festival for the creation of a DCP.

The initiative’s other sponsors offered their support to three other films in post-production. The first of these was Black Night by Karim Bensalah (France/Algeria/Qatar, produced by Oualid Baha for Tact Production), which will receive €15,000 for colour correction, courtesy of Laser Film; $10,000 for marketing, advertising and distribution in the Arab world, thanks to MAD Solutions; €7,500 for the creation of a master DCP with Italian or English subtitles, from Sub-Ti Ltd; another €7,500 to cover an accessible version for people with sensory impairments; €5,000 from RAI Cinema for the acquisition of two-year broadcasting rights; and another €5,000 from the Red Sea Fund.

The second project, The Cemetery of Cinema [+lire aussi :
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interview : Thierno Souleymane Diallo
fiche film] by Thierno Souleymane Diallo (France/Senegal/Guinea, produced by Orlane Dumas for L’image d’après), scooped the “Coup de cœur de la Cinémathèque Afrique” Award (consisting of the acquisition of the non-commercial and non-exclusive broadcasting rights for a duration of seven years, valued at between €4,000 and €6,000), in addition to €5,000 from the Organisation Internationale de la Francophonie as a reimbursement for post-production services, €2,500 from the Amiens International Film Festival for the production of a DCP and a further €2,500 in advertising services, courtesy of Eye on Films.

Lastly, Diaries from Lebanon [+lire aussi :
critique
interview : Myriam El Hajj
fiche film] by Myriam El Hajj (Lebanon/France/Qatar, staged by Myriam Sassine for Abbout Productions and Carine Ruszniewski for Go Go Go Films) will receive €15,000 for sound mixing and up to €10,000 for various post-production services, provided by Titra Film.