When Sharja International Film Festival for Children and Young People unfolds green carpet on October 6th, there will not be a chase after Star Power or Celebrity Gritz. Instead, under the leadership of Sheikha Jawaher Bint Abdullah Al Qasimi, the festival has built its reputation as a platform with “mind and purpose” driven by education, cultural exchange and commitment to amplifying young voices.
Released in 2012 at the request of His Highness Sheiha Jawaha bint Mohammed Al Kashmi, the wife of Sharjah ruler, the festival began as the first event in the Gulf for children’s films. The director said, “People weren’t very aware that there were different kinds of kids’ films. There were documentaries, shorts, different kinds of animation.”
She emphasizes that the vision is always different from other regional showcases. “Her Highness envisioned a festival with a different purpose,” she explains. “It’s rooted in education, culture and inspiration for children and young people.”
From the start of the screenings, mainly in its debut year, the festival has steadily grown into a multivenue event with panels, workshops and thousands of submissions. “Now we have around 100 guests, filmmakers, directors and celebrities coming in and sharing our knowledge,” recalls Sheikha Jawaher. “We have panel discussions. Thousands of kids are coming from all schools in the UAE to attend, watch films and discuss.” Since the festival’s founding, the event has welcomed a total of 236,254 guests.
This year’s edition will feature 76 films from 26 countries selected from over 1,700 submissions, including first-time participation from Sao Tome and Principe, Ecuador and Belize. Three Middle Eastern prime ministers are scheduled for the green carpet, including Saudi filmmaker Saratalab’s “Hajia,” the Dutch animation “Miss Moxie,” and the Korean drama by Suryon Jung, telling the story of a 10-year-old girl isolated from the world. In a side job, the pop-up program will feature workshops ranging from Emiratic comics to photography and documentation tours, with panels and keynotes delving into the role of film in shaping youth culture. Additionally, guests can take part in the film market, which offers a platform for young storytellers to pitch their projects, find collaborators, and explore their path to production.
It is rooted in Sharjah’s cultural vision
The festival reflects the Emirates’ broader cultural strategy. “Sharjah has always prioritized culture, knowledge, family and human development,” emphasizes Sheika Jawahah. “That’s why we wanted cinemas to be a platform that inspires learning, dialogue, empowerment and inspiration.”
Its mission gave Siff a distinctive identity with a busy local calendar. “We’re not here to recreate what you saw in Marrakech or Cairo,” she says. “We’re here to nurture young voices, which makes us different.”
Enhance the perspective of young people
At the core of programming is films for younger audiences and more and more films by them. “The films we screen are for kids and kids, not just for kids,” explains Sheika Jawahaar, noting that the proportion of programming that comes directly from children is still modest, but is steadily increasing. Currently, it accounts for around 20% of festival programming.
To encourage more authentic work, the festival offers feedback sessions for younger applicants whose films are unacceptable. “We need to be very transparent and very realistic in this industry,” she emphasizes. “So when we reject some of the films, we’ll explain what they can do to improve quality. We want to encourage them to submit again.”
Curation praises originality and experimentation. “Of course, we see authenticity first and foremost,” she said. “We’re also looking for bold experiments, projects that push the boundaries by lifting the bars high.”
Expanding global connectivity
SIFF is steadily expanding its international footprint, increasing the number of submissions and the number of countries of origin each year. With that expansion, Sheikha Jawaher has set new goals. “We want to hear from all countries in the world,” she emphasized.
In the 2024 edition, the festival opens a nation of honor, and Palestine retains its distinction and programming that features a palestinian film spatches. She said the media occasionally questioned whether such choices were too polarised. “I remember being asked in the interview: ‘Are you not too political? You’re talking about refugees. You’re talking about war,” she said. “I said, “We’re not political. We’re talking about stories. Our kids can’t live in bubbles anymore. They need to know. They need to have a voice so they can make a difference.”
This year, Korea will be recognized as a nation of honor, with a chain of exploring the history and philosophy of Korean cinema and its global reach.
The 2025 festival will also debut The Children and Youth Film Congress, a new forum designed to bring together filmmakers, industry experts and educators to exchange experiences, address challenges, and explore ways to better support young-focused films.
Siff’s Jury will also feature 16 international directors and experts from Syrian actress Yara Sabri, known for her work in the acclaimed drama series, and Jae Hoon Ahn, best known for “Green Days.”
Challenges and growth
Cultivating recognition and media literacy is not only at the mission of SIFF, but at the heart of its growth. Still, running a festival focused on youth is not without hurdles. “In the beginning, I thought, ‘Why are you watching a film that’s not English or Arabic?” “For example, there’s a boom in time and Korean titles, but more people are open to watching films that aren’t actually language but have the same sentiment.
My parents sometimes resisted films that showed off unpleasant truths. She cites an example of her mother opposed the content of the film. And I smiled and said, “This is not real.”
Ultimately, the festival stewards affirm. Such moments underscore why the educational role of the festival is important. “We can’t ban everything,” she insists. “Children need to understand the outcome and see reality, but they always frame it in dialogue and discussion.”
Looking ahead
As for the next decade, Sheikha Jawaher has an ambitious vision. By 2030, she hopes that Sif will “become a major platform for the region of young voices. We know that all aspiring filmmakers in the Arab world can share their work, get guidance, and become part of a global conversation.” By 2035, she adds: “I hope to stand as a global reference point for youth cinema. My dream is for the filmmakers who have begun their journey at the festival to return as mentors.”
For her, her personal journey has been just as transformative. “It taught me that young people have an incredible depth of imagination and resilience,” she recalls. “When given the chance, they tell stories with integrity, courage and creativity. It reminded me that storytelling is about identity, connection and hope. The youngest voices often have the most powerful truth.”
It is ultimately a festival promise. It’s about focusing on stories that are often overlooked and doing so with sincerity. “It gives us uniqueness,” she asserts. “We are a festival of heart and purpose.”
