Latest news with #PromisedSky
Broadcast Pro
04-07-2025
- Entertainment
- Broadcast Pro
Red Sea Fund awards nine projects post-production grants in 2025
To date, the Red Sea Fund, has supported over 280 film projects, including titles that have gone on to screen at major international festivals and reach wide audiences. The Red Sea Fund, part of the Red Sea Film Foundation, has announced nine winning projects for its first cycle of 2025 post-production grants, supporting distinctive films as they complete their final production stages. Selected projects span a diverse range of countries across the Arab world and Asia, including Saudi Arabia, Indonesia, Malaysia, France, Turkey and Tunisia. The grants are designed to help these films prepare for international distribution and to promote richer, more varied storytelling from the region to audiences around the globe. Among the recipients are Promised Sky by Erige Sehiri, produced across France, Tunisia and Qatar; FUXI: Joy in Four Chapters by Jiongjiong Qiu, a collaboration between Taiwan, Japan, Hong Kong, France and Saudi Arabia; and Mother Bhumi by Malaysian director Keat Aun Chong. Other selected titles include Pangku (On Your Lap) from Indonesia, Ghost School from Pakistan, A Winner is Seen at the Start from Kazakhstan, The Baronnesses from Belgium, France and Luxembourg, Round 13 from Tunisia, and Veha from Turkey. Commenting on this announcement, Emad Eskandar, Head of the Red Sea Fund, said: 'These nine projects embody the richness of captivating narratives from the Arab world and Asia, and we are proud to be part of their creative journey. Last year, we expanded our scope to include Asian projects, driven by our deep belief in the immense potential of filmmakers across the continent. Today, we are witnessing the fruits of this approach through this remarkable selection of projects with unique cinematic visions.' Since its inception, the Red Sea Fund has backed more than 280 film projects, many of which have achieved recognition at major international festivals. Among its recent successes are HOBAL, which premiered at the fourth Red Sea International Film Festival and drew over 190,000 viewers in Saudi cinemas, and The Tale of Daye's Family, the opening film of the same festival edition that was later selected for the 2024 Berlin International Film Festival.
France 24
30-05-2025
- Entertainment
- France 24
A cultural stroll through Paris with actress-director Aïssa Maïga and singer Awa Ly
Culture 15:04 Issued on: This week, Paris des Arts welcomes Aïssa Maïga. The actress and director stars in the new film "Promised Sky", which premiered at the Cannes Film Festival, and she chose the Little Africa Village in the Goutte d'Or neighbourhood of Paris to tell us about it. We also meet her soul sister, singer Awa Ly. She opens the doors to her rehearsal studio and shares a piece from her new album "Essence and Elements", a spiritual journey blending jazz and soul. Finally, dancer and choreographer Femi the Scorpion shares with us his recipe for bringing joy to the streets of Paris.
Yahoo
16-05-2025
- Entertainment
- Yahoo
‘Promised Sky' Review: Erige Sehiri Delivers a Keenly Observed Migrant Drama With a Documentarian's Aesthetic
Selected to open the Un Certain Regard section of the Cannes Film Festival, French Tunisian director Erige Sehiri's intimately conceived drama 'Promised Sky' follows four generations of Ivorian immigrant women as they find solidarity, conflict and sometimes a sense of displacement in one another's company. Female relationships are complicated enough as is, even between those on a level playing field. But in 'Promised Sky,' they are thornier since none of the women are equals from a socio-economic standpoint in their adopted home in Tunisia. 'Promised Sky' starts on a note of matriarchal unity, not separation. Utilizing the same perceptive documentarian aesthetic at the heart of her previous feature, 'Under the Fig Trees,' Sehiri drops the audience into the lives of Marie (Aïssa Maïga), Naney (Debora Lobe Naney) and Jolie (Laetitia Ky), as the three roommates care for a little girl in a bubble bath, gently washing her as they try to get to know her situation. More from Variety Sylvie Pialat, Producer of Cannes' Opening Film 'Leave One Day,' Sets Projects With Directors Emmanuelle Bercot, Atiq Rahimi and Gustav Kervern (EXCLUSIVE) Piper Perabo on Her Eco-Anxiety Rom-Com 'Peak Everything' and Speaking Out Against Trump: 'I'm Not Concerned About Career Blowback' Carlos Saldanha Wraps Principal Photography on Sea-Crossing Drama '100 Days' (EXCLUSIVE) The girl is Kenza (Estelle Kenza Dogbo), a displaced child who appears to have miraculously survived a migrant shipwreck before the three women found her. A former journalist now serving her community as a pastor after 10 years in Tunisia, Marie decides to open her home to Kenza like she did for Naney — a spirited undocumented mother who left her child at home three years ago with the hopes of finding a better future for her family in Tunisia — and Jolie, a passionate student and the only documented member of the group. 'Promised Sky' loosely reflects real events, and feels visually and texturally truthful thanks to Sehiri's authentic point of view and cinematographer Frida Marzouk's poetic lens. The film often feels like a mazy tapestry of moods and situations, rather than a traditional narrative. Sehiri doesn't necessarily attempt to tell a neatly organized story revolving around the three women's actions after Kenza abruptly joins their ranks. Instead, she lets the chaotic messiness of their lives unfold organically, through a casually observant disposition that feels untidy and random at times. Sehiri's film adds up to something greater than the sum of its parts, becoming a unique drama about marginalized African immigrant women fighting for their dignity and place not in Europe (the usual setting for many similarly themed films), but on their own continent, Africa. For Marie, that fight involves providing spiritual leadership to her community, praying for strength and perseverance, and preaching compassion and forgiveness, while distributing food and supplies to those in need. For Naney, the struggle is making ends meet by any means necessary — even if that might invite trouble — while hoping to bring her child to Tunisia one day. Elsewhere, Jolie is driven by different motivations, trusting her privileges as a documented resident in Tunisia. Soon enough, she learns that racism and prejudices in the country don't spare her, regardless of what papers she possesses. There are some male side players too, including Marie's unsympathetic landlord Ismael (Mohamed Grayaâ), who takes advantage of Marie's lack of options by refusing to make simple improvements in her modest housing. And then there is Naney's Tunisian friend Foued (Foued Zaazaa), providing her with some much-needed (if deficient) camaraderie in both life's random moments and special days like birthdays. Marie's blind friend Noa (Touré Blamassi), who judges every situation with intelligent clarity and advises Marie accordingly, brings some gentle serenity to the story. (Sehiri leans too heavily into unsophisticated symbolism with Noa, coming dangerously close to characterizing a disability as if it's a mystical feature.) Someone else who gets the short end of the stick is Kenza. After abruptly introducing the character, writers Sehiri, Anna Ciennik and Malika Cécile Louati sadly treat her like an afterthought; it almost feels as if they have struggled to find a real purpose for Kenza in the tale, missing an opportunity with a gifted child actor who will quietly break your heart with her final scene. 'Promised Sky' is at its strongest when Sehiri approaches a neorealistic style in filming the happenstances of street life, dialing up her documentarian instincts. It also packs a punch when Sehiri underscores just how deeply rooted (and similar-sounding) anti-migrant sentiments are around the world. In one scene, for instance, we learn that some Tunisians spread false rumors that migrants eat domestic cats — it's an accusation that might bring to mind alarmingly comparable lies that were spreading in the U.S. less than a year ago. The film also shines through Naney's aching performance, and she delivers a soul-shattering and scene-stealing monologue near the end about how a better life hasn't found her despite all her hard work, belief and perseverance. Even in its shakiest moments, 'Promised Sky' pledges to honor that grit and against-the-odds struggle with dignity and humanism. Best of Variety The Best Albums of the Decade
Yahoo
15-05-2025
- Entertainment
- Yahoo
‘Promised Sky' Review: Erige Sehiri Delivers a Keenly Observed Migrant Drama With a Documentarian's Aesthetic
Selected to open the Un Certain Regard section of the Cannes Film Festival, French Tunisian director Erige Sehiri's intimately conceived drama 'Promised Sky' follows four generations of Ivorian immigrant women as they find solidarity, conflict and sometimes a sense of displacement in one another's company. Female relationships are complicated enough as is, even between those on a level playing field. But in 'Promised Sky,' they are thornier since none of the women are equals from a socio-economic standpoint in their adopted home in Tunisia. 'Promised Sky' starts on a note of matriarchal unity, not separation. Utilizing the same perceptive documentarian aesthetic at the heart of her previous feature, 'Under the Fig Trees,' Sehiri drops the audience into the lives of Marie (Aïssa Maïga), Naney (Debora Lobe Naney) and Jolie (Laetitia Ky), as the three roommates care for a little girl in a bubble bath, gently washing her as they try to get to know her situation. More from Variety Sylvie Pialat, Producer of Cannes' Opening Film 'Leave One Day,' Sets Projects With Directors Emmanuelle Bercot, Atiq Rahimi and Gustav Kervern (EXCLUSIVE) Piper Perabo on Her Eco-Anxiety Rom-Com 'Peak Everything' and Speaking Out Against Trump: 'I'm Not Concerned About Career Blowback' Carlos Saldanha Wraps Principal Photography on Sea-Crossing Drama '100 Days' (EXCLUSIVE) The girl is Kenza (Estelle Kenza Dogbo), a displaced child who appears to have miraculously survived a migrant shipwreck before the three women found her. A former journalist now serving her community as a pastor after 10 years in Tunisia, Marie decides to open her home to Kenza like she did for Naney — a spirited undocumented mother who left her child at home three years ago with the hopes of finding a better future for her family in Tunisia — and Jolie, a passionate student and the only documented member of the group. 'Promised Sky' loosely reflects real events, and feels visually and texturally truthful thanks to Sehiri's authentic point of view and cinematographer Frida Marzouk's poetic lens. The film often feels like a mazy tapestry of moods and situations, rather than a traditional narrative. Sehiri doesn't necessarily attempt to tell a neatly organized story revolving around the three women's actions after Kenza abruptly joins their ranks. Instead, she lets the chaotic messiness of their lives unfold organically, through a casually observant disposition that feels untidy and random at times. Sehiri's film adds up to something greater than the sum of its parts, becoming a unique drama about marginalized African immigrant women fighting for their dignity and place not in Europe (the usual setting for many similarly themed films), but on their own continent, Africa. For Marie, that fight involves providing spiritual leadership to her community, praying for strength and perseverance, and preaching compassion and forgiveness, while distributing food and supplies to those in need. For Naney, the struggle is making ends meet by any means necessary — even if that might invite trouble — while hoping to bring her child to Tunisia one day. Elsewhere, Jolie is driven by different motivations, trusting her privileges as a documented resident in Tunisia. Soon enough, she learns that racism and prejudices in the country don't spare her, regardless of what papers she possesses. There are some male side players too, including Marie's unsympathetic landlord Ismael (Mohamed Grayaâ), who takes advantage of Marie's lack of options by refusing to make simple improvements in her modest housing. And then there is Naney's Tunisian friend Foued (Foued Zaazaa), providing her with some much-needed (if deficient) camaraderie in both life's random moments and special days like birthdays. Marie's blind friend Noa (Touré Blamassi), who judges every situation with intelligent clarity and advises Marie accordingly, brings some gentle serenity to the story. (Sehiri leans too heavily into unsophisticated symbolism with Noa, coming dangerously close to characterizing a disability as if it's a mystical feature.) Someone else who gets the short end of the stick is Kenza. After abruptly introducing the character, writers Sehiri, Anna Ciennik and Malika Cécile Louati sadly treat her like an afterthought; it almost feels as if they have struggled to find a real purpose for Kenza in the tale, missing an opportunity with a gifted child actor who will quietly break your heart with her final scene. 'Promised Sky' is at its strongest when Sehiri approaches a neorealistic style in filming the happenstances of street life, dialing up her documentarian instincts. It also packs a punch when Sehiri underscores just how deeply rooted (and similar-sounding) anti-migrant sentiments are around the world. In one scene, for instance, we learn that some Tunisians spread false rumors that migrants eat domestic cats — it's an accusation that might bring to mind alarmingly comparable lies that were spreading in the U.S. less than a year ago. The film also shines through Naney's aching performance, and she delivers a soul-shattering and scene-stealing monologue near the end about how a better life hasn't found her despite all her hard work, belief and perseverance. Even in its shakiest moments, 'Promised Sky' pledges to honor that grit and against-the-odds struggle with dignity and humanism. Best of Variety The Best Albums of the Decade
Yahoo
15-05-2025
- Entertainment
- Yahoo
‘Promised Sky' Review: Erige Sehiri Delivers a Keenly Observed Migrant Drama With a Documentarian's Aesthetic
Selected to open the Un Certain Regard section of the Cannes Film Festival, French Tunisian director Erige Sehiri's intimately conceived drama 'Promised Sky' follows four generations of Ivorian immigrant women as they find solidarity, conflict and sometimes a sense of displacement in one another's company. Female relationships are complicated enough as is, even between those on a level playing field. But in 'Promised Sky,' they are thornier since none of the women are equals from a socio-economic standpoint in their adopted home in Tunisia. 'Promised Sky' starts on a note of matriarchal unity, not separation. Utilizing the same perceptive documentarian aesthetic at the heart of her previous feature, 'Under the Fig Trees,' Sehiri drops the audience into the lives of Marie (Aïssa Maïga), Naney (Debora Lobe Naney) and Jolie (Laetitia Ky), as the three roommates care for a little girl in a bubble bath, gently washing her as they try to get to know her situation. More from Variety Sylvie Pialat, Producer of Cannes' Opening Film 'Leave One Day,' Sets Projects With Directors Emmanuelle Bercot, Atiq Rahimi and Gustav Kervern (EXCLUSIVE) Piper Perabo on Her Eco-Anxiety Rom-Com 'Peak Everything' and Speaking Out Against Trump: 'I'm Not Concerned About Career Blowback' Carlos Saldanha Wraps Principal Photography on Sea-Crossing Drama '100 Days' (EXCLUSIVE) The girl is Kenza (Estelle Kenza Dogbo), a displaced child who appears to have miraculously survived a migrant shipwreck before the three women found her. A former journalist now serving her community as a pastor after 10 years in Tunisia, Marie decides to open her home to Kenza like she did for Naney — a spirited undocumented mother who left her child at home three years ago with the hopes of finding a better future for her family in Tunisia — and Jolie, a passionate student and the only documented member of the group. 'Promised Sky' loosely reflects real events, and feels visually and texturally truthful thanks to Sehiri's authentic point of view and cinematographer Frida Marzouk's poetic lens. The film often feels like a mazy tapestry of moods and situations, rather than a traditional narrative. Sehiri doesn't necessarily attempt to tell a neatly organized story revolving around the three women's actions after Kenza abruptly joins their ranks. Instead, she lets the chaotic messiness of their lives unfold organically, through a casually observant disposition that feels untidy and random at times. Sehiri's film adds up to something greater than the sum of its parts, becoming a unique drama about marginalized African immigrant women fighting for their dignity and place not in Europe (the usual setting for many similarly themed films), but on their own continent, Africa. For Marie, that fight involves providing spiritual leadership to her community, praying for strength and perseverance, and preaching compassion and forgiveness, while distributing food and supplies to those in need. For Naney, the struggle is making ends meet by any means necessary — even if that might invite trouble — while hoping to bring her child to Tunisia one day. Elsewhere, Jolie is driven by different motivations, trusting her privileges as a documented resident in Tunisia. Soon enough, she learns that racism and prejudices in the country don't spare her, regardless of what papers she possesses. There are some male side players too, including Marie's unsympathetic landlord Ismael (Mohamed Grayaâ), who takes advantage of Marie's lack of options by refusing to make simple improvements in her modest housing. And then there is Naney's Tunisian friend Foued (Foued Zaazaa), providing her with some much-needed (if deficient) camaraderie in both life's random moments and special days like birthdays. Marie's blind friend Noa (Touré Blamassi), who judges every situation with intelligent clarity and advises Marie accordingly, brings some gentle serenity to the story. (Sehiri leans too heavily into unsophisticated symbolism with Noa, coming dangerously close to characterizing a disability as if it's a mystical feature.) Someone else who gets the short end of the stick is Kenza. After abruptly introducing the character, writers Sehiri, Anna Ciennik and Malika Cécile Louati sadly treat her like an afterthought; it almost feels as if they have struggled to find a real purpose for Kenza in the tale, missing an opportunity with a gifted child actor who will quietly break your heart with her final scene. 'Promised Sky' is at its strongest when Sehiri approaches a neorealistic style in filming the happenstances of street life, dialing up her documentarian instincts. It also packs a punch when Sehiri underscores just how deeply rooted (and similar-sounding) anti-migrant sentiments are around the world. In one scene, for instance, we learn that some Tunisians spread false rumors that migrants eat domestic cats — it's an accusation that might bring to mind alarmingly comparable lies that were spreading in the U.S. less than a year ago. The film also shines through Naney's aching performance, and she delivers a soul-shattering and scene-stealing monologue near the end about how a better life hasn't found her despite all her hard work, belief and perseverance. Even in its shakiest moments, 'Promised Sky' pledges to honor that grit and against-the-odds struggle with dignity and humanism. Best of Variety The Best Albums of the Decade
