SEEN & HEARD: AT THE CINETECH
‘Content is supreme’ Sam Blan, director of acquisitions and co-productions, Inception Film Partners is attending the Dubai Film Market for the second consecutive year. We caught up with Blan, in between his viewings at the Cinetech, when he let us in on what he’s been watching and what the rest of the world enjoys watching. We heard you’ve been really busy at the Cinetech, spending hours there!
Has anything from the Cinetech caught your eye so far?
Sam Blan: On the first day, I was there from 9am to 3pm, until they had to throw me out because of the bomb sweep! I’ve definitely spent most of the working hours so far at the Cinetech.
SB: I was particularly touched by WAVES and I hope it finds a home. I’ve written the director about my thoughts.
Inception works in worldwide distribution and acquisitions and funding. Is there anything in particular that you look for when you head out to film markets?
In your position, you’re aware of market realities and consumer trends. How do you work with the idealism of film-makers when in the business of film?
SB: There’s a tremendous amount of research that goes into our planning before we hit any film market. We’re just coming in to the Dubai Film Market from the AFM and then dive into Sundance right after. Before coming to Dubai, we checked out the programme and the titles and so I’ve definitely come here with my list of films to watch and pursue.
SB: I just ask the film-maker if he or she wants people to watch their film. Film-makers can be stubborn, but I tell it how it is and I’ve got loads of research – facts and figures – to back me up. At the end of the day, film-makers, no matter how artistic their approach is, are making a film in the hope that an audience watches it. I think people in my position need to help film-makers maneuver the path that ultimately makes people want to watch their film. For example, we know that a high percentage of people in the Middle East consume content through their mobile phones. So I ask Arab film-makers if the kind of films they’re making are suitable to that medium.
Sounds like you’re constantly keeping your eye on the ball! SB: For sure. In fact, at any given point, I’m tracking 700 to 800 films from around the world.
And at the Cinetech, what’s your daily watch-list shaping up to look like? SB: It’s quite a mixed bag. There are Arab films, some European films, documentaries and fiction films. Also, Indiewire’s Oscar shortlist was just released and some of the films in the DIFF programme are in the shortlist.
Any particular theme you look for? SB: Definitely films with a universal appeal. One has to bear in mind that now, more than ever, content is supreme. The DVD is in decline and people have so many choices on what to watch, when and how. We get feedback from our buyers, who tell us about their requirements and their markets’ trends. Tastes are changing and it’s very clear that people are interested in content with high production values.
You work with a global audience in mind. What kind of film typically appeals across the board, around the world? SB: Dramas are generally harder because culturally, drama tastes vary across regions. I tend to look for films with a common denominator. Action and family genres always travel well. From the Arab world, I find a void in the family film genre. I grew up with films like MRS DOUBTFIRE and THE GOONIES. Where are those films now and why aren’t Arab film-makers making films that appeal to the entire family?
And finally, is ‘how film is consumed’ affecting ‘what film is consumed’? SB: Consumption patterns have changed. Through Netflix, we have a whole group of binge-watchers. I think no matter the medium, content will always drive consumption. For sure, there are many ways to consume now, but it ultimately boils down to your audience wanting to watch your content.
DIGGING DEEPER INTO SOCIETY’S ISSUES With newer resources and better funding options made available to film-makers across the region, directors are tackling a broader range of societal issues. In this year’s Muhr Emirati programme, which has grown by 50 percent, UAE directors have explored marital woes, the troubles of raising a special needs child, relationship difficulties as well as the expat perspective of leaving their home behind. According to DIFF’s Artistic Director Masoud Amralla Al Ali, “This year’s Muhr Emirati field demonstrates growing confidence and skill in our local artists. We are proud that at our tenth edition, we can present the fruits of these efforts in our most competitive Muhr Emirati
MUHR EMIRATI 2 CONCEALMENT FAITH IN LOVE SUNSET STATE GIRL & IT
MUHR EMIRATI 4 NAFAF DON’T LEAVE ME 13:37 BAHAR
Today at 18:15 MoE 9
Today at 21:30 MoE 9
MUHR EMIRATI 1 HANEEN UNIFIED HOME DEC 9 at 15:30 MoE 9
Capturing the Soul of Dubai Dubai’s glistening skyscrapers have made headlines across the globe, but for a group of Emirati filmmakers, it is the city’s soul that serves as inspiration for their films. As part of the Dubai Culture and Arts Authority’s campaign, ‘Soul of Dubai,’ three shorts were commissioned to showcase the dynamic growth of the city as well as its cultural diversity, unique identity and heritage. In Nayla Al Khaja’s THE NEIGHBOUR, a young woman moves to Dubai for a fresh start and finds herself feeling lonely until she receives a visit from her neighbour, an old Emirati woman. Ali Mostafa’s DON’T JUDGE A SUBJECT BY ITS PHOTOGRAPH looks at Dubai’s buzzing art scene and AL LAILAH by Khalid Ali centres on an Emirati family and their preparations for the children’s festival, Hag Al Lailah.
MUHR EMIRATI 3 THE NEIGHBOUR DON’T JUDGE A SUBJECT BY ITS PHOTOGRAPH AL LAILAH DEC 10 at 18:00 MoE 2
December 8, 2013 Screen International at Dubai 17 ■