Qumra’s Quiet Strength: Championing Documentaries from the MENA Region and Beyond

Back in February, I received my first invitation to attend Qumra. The Doha-based industry event, named after the Arabic word believed to be the origin of “camera” and taking place from April 3–9, aims “to provide mentorship, nurture talent, and foster hands-on development for filmmakers from Qatar, the region, and beyond.”

In practice, Qumra 2025 has been a rich showcase of 49 projects at various stages—from early development to picture lock—spanning animation, fiction, and nonfiction of any length.

The program is accompanied by screenings of select titles previously supported by the organizing body, the Doha Film Institute (DFI), as well as the presence of several industry veterans holding masterclasses for the 300 accredited guests. This year’s Masters included revered Hong Kong filmmaker Johnnie To, Filipino pioneer of slow cinema Lav Diaz, Mexican costume designer Anna Terrazas, Iranian-French cinematographer Darius Khondji, and Brazilian director Walter Salles, fresh off his Oscar win with I’m Still Here (2024).

Qumra is rooted in a fairly freewheeling format: at times, press and industry attendees mingle over lunches, mocktails, and networking events; at others, they follow separate paths. Nonetheless, the gathering unfolds across a limited number of venues, including the iconic Museum of Islamic Art and two luxury hotels in the brand-new district of Msheireb.

A Closer Look at the Showcased Non-Fiction Projects

Out of the 49 selected projects, 12 feature-length documentary projects were presented in Doha: four in development, two in production, two Works-in-Progress, and four picture-locked. The line-up was rounded off by four short documentaries, all with Qatari involvement.

Two projects stood out from the crowd: Hélène Harder’s Fatna, a Woman Named Rachid and Zahraa Ghandour’s Mother of Silence, both at picture-lock stage.

Harder’s doc follows Fatna El Bouih, a former political prisoner, as she continues her lifelong fight for justice and gender equality in Morocco. Now 67, she works with inmates and Syrian survivors, sharing her story of resilience. The movie, a co-production between Morocco, France, and Belgium backed by several European bodies and broadcasters, blends archive and present-day footage to portray her activism and inner journey. At its heart is a powerful attempt to organize a film festival inside the country’s largest juvenile prison. “Her story transcends trauma,” writes Harder in her director’s statement. “Through this film, I hope to honor her legacy and share her fight for dignity and equality.”

Meanwhile, Ghandour’s doc sees herself, now in her early thirties, returning to her childhood home to uncover truths about her past and the disappearance of her friend Noor. Living with her aunt Hayat, a midwife, Zahraa sets off through the city in search of clues. Her journey leads her to Laila (22), a young woman abandoned due to gender-based violence. As she follows Laila’s struggle, Zahraa confronts how war and patriarchy have forced mothers to leave their daughters behind. Co-produced by Iraqi, French, and Qatari partners, the project sees the helmer probing Iraq's war and tribal laws, unraveling why families abandon daughters.

Staff and Industry Attendees Have Their Say

During the sweltering days of Qumra—when temperatures often soared to 38°C—Documentary Magazine spoke to several attendees and staff members to get a sense of why the Qatari event is becoming an increasingly unmissable fixture on the spring calendar, and how the DFI is helping elevate the MENA region’s filmmaking potential on the world stage.

For Algerian filmmaker and journalist Farah Abada, Qumra offered a transformative first-hand encounter with the global documentary community. Presenting her debut feature doc in one-on-one sessions with producers and curators proved invaluable: “These sessions were incredibly valuable in terms of feedback and potential partnerships,” she said. But the experience that left the deepest mark was her participation in Rithy Panh’s Filmmaking Lab. His philosophy of honoring memory and emotional truth profoundly resonated with her. “He encourages us to dig deeper, to question our choices, and to stay true to the emotional core of our stories,” she recalled. 

Abada was also struck by the overarching thematic threads shared among her peers, highlighting “a shared urgency to break the silence around long-buried traumas.” For an Algerian filmmaker with limited access to international networks, Qumra emerged as a rare and empowering space—one that fostered professional growth while reaffirming the universality of her voice: “It’s very motivating to feel that my story resonates beyond borders.”

Nora Philippe brought her dual lens—as both an industry expert and a representative of EURODOC—to Qumra, where she advised filmmakers on co-production strategy and project development. She found it especially rewarding to reconnect with EURODOC alumni presenting new projects, and to identify upcoming talents who will join the Corsica session for Mediterranean producers. “We’ve been building bridges with the Doha Film Institute for many years,” she noted, emphasizing the depth of their collaboration. Philippe highlighted the diversity and maturity of the works-in-progress, singling out two standout rough cuts from Iran and Iraq, which she believes are festival-bound. 

More critically, she viewed Qumra as a safer, more inclusive space for MENA filmmakers than many European settings, where artists often have to compromise their vision to fit into Western frameworks. “It’s definitely a learning,” she remarked, affirming Qumra’s role in resisting systemic barriers. While the global documentary market remains fragile, Philippe sensed genuine engagement in Doha, hopeful that “the dire circumstances of the European and North American markets” haven’t yet cast a shadow over Qumra’s potential.

A long-time collaborator of the Doha Film Institute, programmer and industry expert Paolo Bertolin has witnessed Qumra’s evolution firsthand, moderating work-in-progress showcases and business breakfasts since its inception. This year, what stood out to him was the overwhelming political and socially engaged tenor of the projects: “The desire to speak about the world around us felt more urgent than ever,” he observed. Whether through documentary or fiction, the selected works channeled cinema’s power to interrogate the past and shape future conversations. 

Bertolin underscored Qumra’s uniqueness as a model, offering sustained support well beyond funding. He praised the DFI’s vision in building a platform where filmmakers benefit from mentorship and direct exposure to the international market. However, he also pointed to persistent regional challenges—unstable institutional support and limited distribution. “Many significant films from the region are more visible in the West than at home,” he noted, lamenting a disconnect that affects the local cultural ecosystem.

Attending Qumra on behalf of UK-based The Whickers, Assistant Director Denise Barren sought out new voices in documentary filmmaking—and found plenty that impressed her. Through roundtable discussions and one-on-one meetings, she engaged with directors working on powerful first-time projects. “All of which are told from the heart,” she noted with enthusiasm. Barren observed a distinct trend toward intimate, character-driven storytelling, with themes of identity, memory, and displacement taking center stage. Filmmakers also showed an appetite for boundary-pushing forms, embracing hybrid and experimental methods. Qumra, in her view, functions as a vital incubator for emerging non-fiction work: “The level of support, encouragement, and genuine curiosity from all sides makes it a great environment for nurturing new voices.” 

As someone closely involved with industry research through The Cost of Docs report, Barren brought a sharp awareness of global trends—citing funding struggles, delayed production timelines, and mental health concerns. But in Doha, she picked up on something rare: hope. Despite the industry’s broader challenges, she left feeling “energized by the talent and resolve of the storytellers she met.”

For POV Co-Producer Opal H. Bennett, Qumra delivered an unexpected level of creative vitality and professional depth. Attending for the first time as an industry guest representing POV, she engaged in one-on-one meetings, matchmaking sessions, and Working Breakfasts, while also drawing inspiration from the Master Classes. Despite being a newcomer to the event, Bennett quickly recognized the high standard of the non-fiction projects: “I encountered as high a caliber of project at Qumra as I’ve ever seen—brilliantly-observed, creatively-audacious and such vulnerable work.” What impressed her most was the maturity of the lineup—many titles were already in late production or post, making them more immediately viable for broadcasters like POV. 

In a year where the documentary landscape in the U.S. feels especially tight, with shrinking opportunities from financing to distribution, she saw Qumra’s networking space as more essential than ever. “It’s a tough time right now, but the vibe in Doha was one of quiet determination—filmmakers undeterred in their mission, and industry standing strong to uplift them. That made this moment feel especially inspiring.”

Representing Hot Docs at Qumra, Industry Programmer Maria José Aráuz brought a strategic focus to the table: promoting the Hot Docs-Blue Ice Documentary Fund and building bridges with emerging African filmmakers. She participated in Works-in-Progress screenings, matchmaking meetings, and the “Working Breakfast,” where she shared insights on the fund and discussed new directions for documentary support. Qumra proved to be an ideal space for both outreach and reconnection—particularly with former grantees now returning as mentors or presenting new work. “It was a beautiful experience,” she reflected, praising Qumra’s commitment to capacity-building and its value as a meeting ground for underrepresented voices. 

The pre-pitch training provided to filmmakers, she noted, gave them “a real edge when entering talks with broadcasters and financiers.” In conversation with peers like DOK Leipzig, Aráuz also observed a strong push toward international co-productions, noting that “relying on funding from a single country is no longer sustainable. Collaboration is key.” Qumra, she concluded, is helping to pave the way for those partnerships to grow in meaningful ways.

A True “Production Bridge” for Filmmakers from the Region and Beyond

At the closing press conference, Fatma Al Remaihi, CEO of the DFI since 2014, expressed great satisfaction with this year’s masterclasses, meetings, and the overall selection of projects. Responding to a journalist who highlighted the increasing number of women filmmakers taking part in Qumra, Al Remaihi welcomed the observation, noting that this development has happened organically. “We never put quotas,” she said. “We always focus on the stories.” When asked about future industry plans, she acknowledged that while there is still much to be done, Qatar’s film sector remains relatively young. “We have big plans and big hopes, and we’re moving as fast as we can—but we also need to be realistic,” she added.

Hanaa Issa, director of film funding and programmes, underscored the curated and intimate nature of Qumra, explaining that the event already begins a few days before its official opening with online activities and continues beyond the physical dates. The first half of Qumra typically focuses on connecting projects with festivals, while the second half targets distributors and sales agents. “Even the 100 guests who couldn’t attend in person participated online,” Issa noted. “To give you a sense of the scale—for the 49 projects showcased, we set up 700 meetings, all while maintaining the intimacy we aim to preserve.”

Qumra continues to grow at a steady pace while preserving its most valuable qualities: an intimate, approachable atmosphere and a rare focus on minority voices and women filmmakers—still a near-unique stance in the MENA region’s cinematic landscape. Its internationalization is progressing well, and the platform proves to be a solid springboard for projects nearing completion and seeking world premieres or international distribution, as well as a meaningful space for mentorship across career stages.

With cautious optimism, the industry now awaits the next chapter, particularly the upcoming launch of a new film festival in Doha this November, set to be officially announced in Cannes. For now, no plans to merge Qumra with the new event have been confirmed. November remains a busy time on the Arab festival circuit, with El Gouna, Red Sea, Cairo, and Marrakech all unspooling in close succession.

Davide Abbatescianni is a film critic and journalist based in Rome. He works as an International Reporter for Cineuropa and regularly contributes to publications such as Variety, New Scientist, The New Arab, Business Doc Europe, and the Nordisk Film & TV Fond website. He also serves as a programmer for the Torino Film Festival, one of Italy’s largest cinematic gatherings.