The poster of "My Father and Qaddafi".
Doha: The Doha Film Institute (DFI) has solidified its position as a powerhouse in global cinema, with an unprecedented 12 supported films selected for the 82nd Venice International Film Festival (August 27 – September 9, 2025). Representing a rich tapestry of stories from the Arab world and beyond, these films span the festival’s most prestigious sections, including the Official Selection, Settimana della Critica (Critics’ Week), Giornate degli Autori (Venice Days), Final Cut in Venice, and the Venice Production Bridge.
This milestone underscores DFI’s commitment to amplifying authentic, bold, and urgent narratives that resonate across borders.
In the race for the Golden Lion, The Voice of Hind Rajab (Tunisia/France) by Kaouther Ben Hania delivers a heart-wrenching portrayal of a five-year-old girl killed by Israeli forces, marking a powerful world premiere.
Meanwhile, My Father and Qaddafi (Libya/USA/Qatar) by Jihan K screens Out of Competition in the Non-Fiction category, offering a deeply personal exploration of the filmmaker’s search for truth behind her father’s disappearance during the Qaddafi regime.
CEO of DFI Fatma Hassan Alremaihi said, “This landmark presence of 12 DFI-supported films at Venice is a powerful testament to our mission of elevating compelling, courageous storytelling from voices that are too often unheard. These films carry the weight of truth, resilience, and vision—and they speak across borders, cultures, and perspectives. What makes this year’s selection even more special is the inclusion of homegrown talent from Qatar, a proud reflection of the creative excellence emerging from our own community. Our role is not just to support filmmakers, but to champion stories that challenge, inspire, and ultimately expand theglobal cinematic conversation. This milestone reaffirms DFI’s impact in shaping a more balanced and representative film landscape.”
The Venice Days section features three DFI-backed films. Memory Russia/France/Netherlands/Qatar) by Vladlena Sandu confronts the traumas of the Chechen war through a personal lens. A Sad and Beautiful World (Lebanon/USA/Germany/KSA/Qatar) by Cyril Aris weaves a decades-spanning love story against Beirut’s turbulent backdrop. Do You Love Me (Lebanon/France/Qatar) by Lana Daher examines Lebanese identity through seven decades of pop culture and politics.
In Critics’ Week, Cotton Queen (Sudan/Germany/France/Palestine/Egypt/Qatar) by Suzannah Mirghani blends ecological critique with a coming-of-age tale, following teenager Nafisa in a power struggle over genetically modified seeds. Roqia (Algeria/France/KSA/Qatar) by Yanis Koussim explores trauma and healing in a dual-timeline narrative set in 1993 Algeria.
Two projects feature in Final Cut in Venice, a platform for post-production films from Africa and select MENA regions. The Station [Al Mahatta] (Yemen / Jordan / France / Germany / Netherlands / Norway / Qatar) by Sara Ishaq portrays three siblings facing impossible choices at a women-only petrol station in war-torn Yemen. An Untitled Project from Yemen (Yemen/Norway/France/Qatar) by Mariam Al-Dhubhani documents survival and memory amid conflict.
