The inaugural Doha Film Festival significantly expands the Doha Film Institute’s role in nurturing homegrown talent, an initiative the organization has cultivated for 15 years through grants, labs, year-round training activities including Qumra, Ajal and early festival-style showcases. This year’s Made in Qatar competition will put that pipeline on full display with 10 short films by Qatar and Qatar-based directors whose work has been shaped, supported and mentored by the DFI network.
Commenting on the competition program, festival director and DFI CEO Fatma Hassan Allemaihi said: “Supporting local filmmakers is not only a duty, but also a privilege and great pride for the association. Our storytellers open windows to our world, share our unique culture and connect others to our own stories.” The institute added that through Made in Qatar, it “celebrates the courage and creativity of filmmakers who define our cinematic identity and shape a cultural heritage that extends far beyond our borders.”
The festival’s commitment to local voices is also reflected in the filmmakers screened in this section. Fatma Al Ghanim, director of Theater of Dreams, a documentary that reimagines the first Qatari women’s national football team, called this an “exciting time to be a filmmaker in Qatar” and praised the strengthened ecosystem and “full pipeline” built through DFI’s development and funding programs. Animator and lecturer Mohamed Al Suwaidi, co-director of “Al-Aqiq: Darkness of Virtuality,” reflected on his 10 years of cooperation with the institute, saying, “We have seen the environment grow and the community mature. There is real reason for hope.”
For Fahd Al Nahadi, Director of Project Aisha, the long-term relationship with the Institute is fundamental. “I have been working with DFI for 10 years through festivals and community events, and its growth has been remarkable, with more resources, more funding, and more opportunities to make a stronger impact.” Documentary filmmaker Ayman Mirghani, who screened Villa 187, said: “DFI It highlights how workshops and programs like Qumra continue to nurture local and resident talent, shaping a generation of filmmakers who have grown up alongside the Institute itself.
Together, these films form a snapshot of the voices shaping Qatar’s evolving screen culture. Below is an overview of each of the 10 projects in this year’s Made in Qatar competition.
“Al Aqiq: The Darkness of Virtuality”
Mohammed Al Suwaidi & Kumam Al Mahdeed (Qatar)
Set in the near-future coastal city of Djuna, this animated short follows a wave of attacks by a shadowy group known as the Trolls. When an architect grandfather is assaulted on camera, online distortions amplify the real-world horrors as clues draw him into the conflict. Blending action and social commentary, the film follows him as he reluctantly aspires to leadership as he joins a new generation determined to unite the city.
“Baba is melting”
Karim Emara (Qatar)
Filmmaker Karim Emara, a long-time participant in the DFI program, including Ajal, brings creative maturity to this tightly contained father-son conflict. The film, in which a young man challenges his father from a parked car just before Friday prayers, is set in the sweltering heat of Doha, reveals a secret remarriage, and exposes vulnerability, silence, and changing masculinity beneath seemingly ordinary moments.
“Fahad the Furious”
Justin Kramer (Qatar)
Justin Kramer leverages over a decade of collaboration within the Qatari film community to convey this keenly observed family drama. When Fahd arrives at the mosque with a black eye, his conservative family is unable to communicate, leaving them to imagine what his life will be like after dark. Set in modern-day Qatar, these short stories explore misunderstandings, silence, and the stories concocted by families unable to ask real questions.
“Is this a sign?”
Maria Joseph (Qatar, India)
This fast-paced comedy unfolds during the hectic moments before a wedding. A nervous bride grapples with an overprotective father, a mischievous brother, and the sudden disappearance of a treasured heirloom. Joseph’s film is about cultural expectations and the confusion surrounding milestone moments. “Casting was difficult; we sometimes found actors in supermarket aisles,” says Joseph. “My friends became my crew and they were amazing.”
“Palm Branch”
Mahdi Al Ali (Qatar)
Mahdi Al Ali’s meditative drama follows a woman as she navigates the silent aftermath of loss, where domestic life, vivid memories, and maritime folklore begin to intertwine. The contrast between the vibrant, dreamlike underwater world and the tranquility of her home reflects her inner conflict. Finally, a silent ritual with palm branches offers her a final attempt to let go and move toward something like peace.
“Project Aisha”
Fahad Al Nahdi (Qatar)
After a near-fatal accident leaves 12-year-old Aisha incapacitated, her neurosurgeon mother rejects medical advice and imposes her own strict care within the home. The film explores the fine line between protecting children and completely isolating them, as the home becomes a supervised, rule-bound space.
“Kada” and “Kadal”
Maryam Al Mohammed (Qatar)
Directed by Maryam Al Mohammed, the drama, set in Doha’s family court, follows Noor as she prepares to face her husband, his lawyer and the judge for a divorce, but is already shaken by the alarming news her sister shared just before entering the courtroom. The film tracks the growing tension between public procedures and private interests, capturing a woman navigating pressure, judgment, and the emotional weight of her choices.
“Theatre of Dreams”
Fatma Al Ghanim (Qatar)
2022 FIFA Men’s World Cup Set against the backdrop of Qatar, this personal documentary tells the untold story of the inaugural Qatar Women’s National Football Team. More than a decade after team captain Al Ghanim helped break cultural taboos to play, this film traces the courage, defiance, and sacrifice that shaped her journey.
“Yom El Juma”
Haya Al Kuwari (Qatar)
Mubarak, a widowed and short-tempered father, cherishes Fridays, the weekly gathering that once brought his grown sons closer together. However, the day takes an unexpected turn when the eldest son leaves in a hurry, leaving behind his healthy daughter. As Mubarak babysits his stubborn granddaughter, the film is a tender look at a man grappling with loneliness, changing familial realities, and the small moments that reunite generations.
“Villa 187”
Ayman Mirghani (Qatar, Sudan)
Ayman Mirghani turns his camera on his family as they prepare to leave their Doha home of more than 30 years after his father suddenly loses his job and his visa is cancelled. As rooms are emptied and things are packed, the film sifts through uneasy questions of memory, migration, and belonging, capturing the uncertainty of a life forged in a place that was home but never fully one’s own, then suddenly torn away.
