At this year’s Cairo International Airport, the festival hosted one of the most lively conversations within Cairo Industry Days, with co-production emerging as one of the festival’s most strategic themes. Between a candid panel discussion on balancing identity and market demand, and the launch of Project Salon, a new platform for CIFF film market partner Co-Production Salon, the festival highlighted the festival’s commitment to improving regional cooperation and providing Arab filmmakers with more structured tools to navigate the international market.
The panel “Co-production: Between identity and market” brought together filmmakers and producers from across the region and Europe to dissect the realities of working across borders. Egyptian producer and director Ali El Arabi (Captains of Zaatari) opened with a reminder that co-production is not an automatic solution for every project. Its value, he argued, depends on what filmmakers really need, whether it’s funding, expertise or shared creative sensibilities.
Some pointed to the risks behind such decisions. Ziad Srouji, senior VP of business and content development at Rise Studios (co-producer of Once Upon a Time in Gaza), emphasized that co-production agreements need to be understood as a commercial risk. As markets change and budgets tighten, producers are making business decisions as well as artistic ones.
Jordanian producer Rula Nasser (“Inshallah a Boy”) added that international partners are not necessarily essential. She argued that some films, especially those by up-and-coming filmmakers, are successful precisely because they are rooted in local contexts.
Still, the financial environment is rapidly evolving. Norwegian producer Diveke Graver (The Worst Man in the World) pointed out that while one or two co-producers were once sufficient, today’s projects often rely on four or five partners to cover different territories and secure distribution channels.
Egyptian filmmaker Maye Zayed explained how this complexity creates creative tension. For her award-winning documentary Lift Like a Girl, she received strong interest from co-producers in Europe, some of whom demanded rushed schedules and stylistic adjustments that clashed with her slow, observational approach. Ultimately, Zayed partnered with a producer who understood the rhythm of the film, and the experience strengthened her resolve to stick to her vision even as more heavily funded options were on the table.
Throughout the panel, the theme of the importance of establishing a stable core team before expanding into co-production resurfaced frequently. Nasser emphasized that no matter how many partners are involved, the relationship between the director and the producer is what underpins the creativity of a film. Graeber agreed, arguing that producers need to understand the DNA of a project before approaching outside collaborators. In her words, the right co-producer should be “someone you’d actually want to have dinner with,” a reminder that compatibility is just as important as qualifications.
Panelists also discussed the political nuances of international funding. Sloj acknowledged that while some European cultural funds come with editorial expectations, they also provide important access to festivals, markets and new audiences. Nasser pointed out that countries like Jordan often rely on European post-production services out of necessity, but doing so does not necessarily mean abandoning their creative identity.
Another common warning: Know your contract. El Arabi has been candid about learning hard lessons about rights and revenue division, while Nasser admitted that he went into the early projects with a poor understanding of copyright. The group agreed, emphasizing that legal literacy is now a fundamental skill for producers.
The room also discussed why Arab-Arab co-productions are less common than European co-productions. Nasser gave a good-natured but convincing explanation that producers in the region “love each other too much”, leading to disputes over filming locations, premiere rights and broadcast priority. In markets where independent film audiences are small, these decisions can carry disproportionate weight.
Project Salon: New tools for collaboration
The festival’s focus on co-production was further reinforced with the launch of Project Salon, a digital platform developed by CIFF partner Co-Production Salon, a UAE-based networking hub, on stage at the Cairo Film Market. The tool allows experienced producers to upload comprehensive project materials, including the script, budget, schedule, pitch materials, and specify the type of partnership they are seeking, from co-financing to distribution. To ensure professional standards, projects must already have at least 10% of their funding secured and at least one commercially released work from the creator.
In a region where many filmmakers struggle to find the right partner at the right time, the platform aims to streamline the process. Co-Production Salon has established itself as a key connector to the industry in the Middle East and North Africa by centralizing pitching, matchmaking and funding opportunities in one place. Founder Heba Korayem envisions it as a way to bridge the gap between creative ambition and market access, allowing Arab producers to compete more confidently on the international stage.
This initiative fits neatly into CIFF’s broader strategy. More than 20 Arab and international organizations are participating in this year’s Cairo Film Market, and CIFF recently formalized a strategic partnership with Co-Production Salon to expand co-production opportunities in MENA.
Both the panel discussion and new infrastructure reflect an industry at a tipping point. Arab producers are promoting partnerships that protect their artistic identity while expanding their international influence. Once viewed primarily as a funding lifeline, co-production is now being reimagined as a strategic tool that can both confirm cultural authenticity and open up new markets.
As CIFF invests in platforms and programs that prioritize transparent and equitable collaboration, the region’s filmmaking community appears poised to enter a new phase shaped by intentional, confident, and increasingly locally-led co-productions rather than dependencies.
