The inaugural edition of the Doha Film Festival (DFF) spotlights Sudanese cinema, showcasing the resilience and creativity of its filmmakers in a challenging year marked by conflict. Among the featured works is Cotton Queen, the debut feature by Sudanese director Suzannah Mirghani, which has already garnered accolades, winning the Golden Alexander for best feature film at the Thessaloniki International Film Festival earlier this month. This recognition highlights the growing visibility of Sudanese cinema amidst ongoing struggles for representation.
As the festival unfolds, it provides a vital platform for Sudanese stories. Mirghani emphasizes the significance of this moment, stating, “In many parts of the world, Sudanese communities feel overlooked. Here, there’s a sense of being seen.” Her film, which premiered in the Critics’ Week at the Venice Film Festival, resonates deeply with audiences, allowing them to witness reflections of their own lives, landscapes, and cultural dynamics on screen.
Exploring Sudanese Heritage Through Film
Mirghani reflects on the importance of cotton in Sudan’s social fabric, stating, “Cotton is central to Sudan in every aspect.” She recalls how women from her grandmother’s generation spun raw cotton into thread, creating economic opportunities and a sense of agency. “Even when others in the house had no income, the grandmother always had cash because she’s selling her thread,” she explains. This connection to the past informs the narrative of Cotton Queen, which delves into the impacts of genetically modified cotton seeds on traditional agriculture.
The film’s protagonist, teenage Nafisa, becomes embroiled in a power struggle over these seeds, reflecting the broader ecological and economic challenges facing her village. Mirghani artfully intertwines coming-of-age themes with critical social commentary. “The film isn’t a lesson, even though there are lessons within it,” she asserts, emphasizing the personal stories that drive the narrative.
Challenges and Triumphs of Filmmaking
Initially, Mirghani intended to film entirely in Sudan with a local cast and crew. However, following the outbreak of conflict in April 2023, those plans were disrupted. Many collaborators fled to Egypt, prompting the production team to relocate. “In Sudan, there was genuine momentum for a film industry,” she notes, highlighting the international success of films like Goodbye Julia and You Will Die at Twenty. The war significantly altered lives and disrupted creative endeavors.
Filming in Egypt presented its own challenges, as cast members grappled with recent traumas and displacement. Yet, Mirghani found that filmmaking provided a sense of community and stability. “Sudan is deeply communal, and they found that on set,” she observes. The production team built a Sudanese village in Egypt that felt authentic yet disorienting for the cast, who often had to remind themselves of their new surroundings.
The film’s production involved a diverse group of collaborators, including producers Caroline Daube and Didar Domehri, alongside several international partners such as ZDF/Das Kleine Fernsehspiel and the Red Sea Fund. This extensive network was crucial in navigating the shifting circumstances of the project.
The DFF’s Sudanese spotlight extends beyond cinema, encompassing a music program that resonates with Mirghani, who views music as a narrative device. The film opens with girls singing aghani albanat, or “girls’ songs,” emphasizing the importance of female voices in traditional contexts. The score, crafted by Tunisian-French composer Amine Bouhafa, incorporates Sudanese instruments, enriching the film’s cultural authenticity.
As the festival unfolds, Mirghani anticipates the emotional experience of watching Cotton Queen with her cast and crew, many of whom remain scattered across Egypt. “We’ll watch the film together, on screen, for the first time,” she reflects. This collective viewing represents a poignant moment of reconnection.
Looking ahead, Mirghani envisions the film reaching Sudanese audiences in diaspora communities and refugee contexts. “Right now, we don’t have a country. Right now, the country is destroyed,” she states, emphasizing her desire for the film to serve as a bridge for connection. With international sales managed by Totem Films, she hopes to extend the film’s reach and foster a sense of belonging for Sudanese people worldwide.
Through Cotton Queen, Mirghani not only highlights the struggles of her homeland but also celebrates the enduring spirit of its people, offering a glimpse of their rich cultural heritage and resilience.
