The 46th edition of the Cairo International Film Festival (CIFF) embarked on a dual mission this year, simultaneously looking inward to its rich cinematic heritage through an ambitious restoration program, and outward as it solidified its position as a vibrant regional hub for film industry development and emerging talent.

The festival's opening ceremony dramatically underscored its commitment to preservation, showcasing striking before-and-after footage of restored Egyptian classics such as Hossam El Din Mostafa’s “A Crime in a Quiet Neighborhood” and Kamal Al-Sheikh’s “Sunset and Sunrise.” This visual demonstration of decades-old images re-emerging with new clarity and texture drew audible reactions from the audience, signaling a renewed commitment by CIFF president Hussein Fahmi to not only safeguard but also reinvigorate Egypt’s cinematic legacy. This monumental restoration program, spearheaded in partnership with Egypt’s Ministry of Culture-affiliated Holding Company for Investment in the fields of Culture and Cinema, represents one of the most ambitious archival efforts in regional history. This year’s edition presented 21 newly restored titles, all meticulously equipped with English subtitles to cater to international viewers, ensuring broader accessibility.

Fahmi articulated that this initiative stems from both a profound cultural responsibility and the dramatic shifts in filmmaking technologies. He emphasized the long-term vision, stating that simply restoring and screening films at the festival is insufficient without ensuring continued access. To address this, CIFF and the Holding Company are developing a dedicated digital platform where these Egyptian classics will be available for ongoing viewing, providing a crucial entry point for younger cinephiles into the country's earlier film tradition. The initiative, while significantly expanded this year, builds upon prior editions where CIFF had already begun restoring and presenting heritage titles. The opening ceremony’s side-by-side restoration footage vividly highlighted the sophistication of Egypt’s studio era and the craftsmanship that, as Fahmi proudly noted, stood “parallel with the American cinema, with the European cinema” in its time.

Despite the milestone achieved with the first restored batch, the scale of the task ahead remains immense, with Fahmi acknowledging, “We have 1,300 movies to be restored.” However, he views the sheer size of the archive as a long-term opportunity, envisioning a digitized collection that could form one of the most comprehensive archives of Arab cinema globally. "If we have all these numbers, we can have a fantastic platform, with a wide range of films," he stressed.

Fahmi placed the restoration effort within a broader reflection on Egypt’s evolving role in regional production. Once a powerhouse producing around 60 films annually and exporting them across the Middle East and North Africa, political turmoil, market losses in neighboring countries, and the pandemic have reduced output to an average of 16 films a year. Despite this decline, Fahmi insists that Egyptian cinema maintains a deeply recognizable identity, arguing that its rhythm, themes, and cultural grounding give it an enduring international appeal: “The more international you become, it’s because you’re deriving from your own society, your own culture.”

Beyond preservation, the restoration program is also about reintroducing a style of emotional filmmaking that Fahmi feels is increasingly absent from mainstream cinema today. He laments a disconnect, observing that audiences often feel less a part of contemporary films. In contrast, classic Egyptian films, rich in feelings and emotions, fostered a strong connection to characters. He hopes that reintroducing this character-driven, mood-centric, and emotionally proximate cinema will inspire younger filmmakers to reconnect with storytelling anchored in humanity rather than pure spectacle. For Fahmi, ensuring CIFF remains “young in spirit” even at its 46th edition means reviving the national archive, thereby preserving history and providing a foundational legacy for new filmmakers.

Shifting to its outward focus, the CIFF’s 46th edition also garnered attention from programmers from leading global festivals, who observed a rare synergy between the market and the theaters. With expanding regional co-production models and the strengthening Cairo Film Connection as a project incubator within Cairo Industry Days, the festival is emerging as a crucial site not only for discovering new voices but also for understanding the current concerns and aspirations of Arab filmmakers. This expanded industry platform signals Cairo’s growing influence as a regional hub.

As financing structures across the Middle East and North Africa evolve and more funds engage with local producers, international programmers are keenly observing how Cairo’s market ecosystem might shape future films reaching Europe and beyond. Anas Sareen, filmmaker/writer-director and a Berlinale Generation programmer, highlighted the role of these structures in propelling emerging filmmakers forward, valuing the sincerity evident in their work. Céline Roustan, director of programming at Palm Springs ShortFest, viewed Cairo's industry expansion as part of a broader regional realignment, emphasizing that the shift isn't solely financial. She underscored the importance of filmmakers relying on regional partners who share a common context, fostering collaboration rooted in mutual understanding.

While the industry draws programmers, it is Cairo’s deeply invested local audience that truly defines the festival’s unique character, setting it apart from other major regional festivals like Doha and Red Sea. Roustan noted, “Every seat is filled. You don’t come here to play to an empty room. Cairo audiences go to the movies, they react, they debate. It really matters to them.” She added that watching films with an Egyptian audience often reveals narrative nuances that might not surface elsewhere, articulating that the ideal film is authentic to its own world while still providing international audiences an entry point, without being designed solely for Western gatekeepers or entirely shutting them out.

Sareen, experiencing Cairo for the first time, reflected, “Cairo is cinema. Everywhere you look feels like the beginning of a story.” The city’s cinematic lineage, from its foundational role in Arab filmmaking to iconic figures like Youssef Chahine, continues to shape how programmers engage with contemporary films. He added that Cairo’s longevity as the region’s oldest FIAPF-accredited festival provides an institutional memory that newer festivals cannot replicate, allowing it to maintain a leading position for many years.

This established foundation is now meeting a generational shift. Roustan noted a rise in films by women and Gen Z directors, reflecting changes in training, access, and regional funding. More significantly, she observed a newfound confidence among filmmakers to tell stories primarily for local audiences rather than optimizing for international palatability, resulting in films that are “unapologetically themselves.” She pointed to shorts like “First the Blush Then the Habit” for its precision and strong voice, and features like Zahraa Ghandour’s “Flana” as examples of well-crafted regional films successfully navigating both Arab and international festival circuits. Sareen identified a parallel movement among diaspora filmmakers reconnecting with the region, bringing fresh perspectives shaped by displacement or migration, fostering an exciting emerging pan-Arab filmmaking sensibility.

Certain themes, however, remain unavoidable in Arab cinema. Sareen reflected on the responsibility filmmakers feel to address issues like Palestine, Sudan, and other regional conflicts, emphasizing that politics is a lived reality, not a branding device. While these themes inevitably inform their work, filmmakers are equally intent on not being solely defined by them. Short films, with their rapid production timelines, offer a quicker pulse of the moment, reflecting the state of the world faster than features, though urgency alone does not justify selection; the filmmaking must stand on its own artistic merit. Both programmers consider Cairo a genuine launchpad for careers and films, with distributors observing Egyptian audience responses and programmers scouting for potential selections for festivals like Palm Springs, Berlin, or others. “The industry is here,” Roustan concluded, “Films can be picked up, and filmmakers can build connections that matter.”