أثار انسحاب فيلم “كرت أزرق” السوداني من سوق برلين للإنتاج المشترك، المقرّر ضمن فعاليات مهرجان برلين السينمائي الدولي في الفترة من 14 إلى 17 فبراير/شباط 2026، جدلاً واسعاً حول آليات منح التأشيرات لصناع الأفلام القادمين من مناطق تشهد اضطرابات. جاء هذا القرار بعد رفض طلبات التأشيرة للمنتج والمخرج وكاتب العمل، على الرغم من تلقيهم دعوات رسمية وتقديم كافة المستندات اللازمة.
مخاطر الهجرة: حجة الرفض
The core reason cited for the visa rejections, as explained by producer and director Amjad Abu Al-Ala, was the alleged “risks of migration.” This justification was based on doubts about the clarity of their travel purpose and concerns about their intention to return after the event concluded.
Abu Al-Ala elaborated in a statement on his Facebook account that the production company behind “Kart Blue” had previously participated in the Berlin Film Festival with the Yemeni feature film “The Weary On,” which was selected for the Panorama section and subsequently won several international awards. This past participation, he stressed, was in full compliance with travel regulations and without any issues.
He further noted that his most recent visa from the German Embassy in Khartoum was valid for two years and expired after his last visit to Berlin. The director’s visa, meanwhile, had expired only a week before the new application was submitted.
Abu Al-Ala affirmed that his previous visit to Berlin was in his capacity as a member of the jury for the Generation section of the Berlin International Film Festival. He emphasized that he returned to Sudan without any remarks, underlining the clarity of his professional record, long-term commitments, and all submitted documentation.
Despite the selection for the Berlin Film Market being a source of pride for the filmmakers, they expressed deep concern over the visa rejections, particularly for filmmakers from countries affected by war and displacement.
He highlighted that disregarding professional history, previous compliance, and institutional support in favor of preconceived notions about “migration risks” raises serious questions about the evaluation mechanisms. This approach, he argued, categorizes artists from unstable regions into predetermined profiles, reducing them to migratory classifications rather than recognizing them as professionals with legitimate creative projects.
The statement warned that the continuation of this approach perpetuates unjust stereotypes and leads to unequal treatment of artists and those who work with them. The Berlin Film Festival is acknowledged as a prominent platform for films addressing themes of displacement, exile, and the search for belonging, making it concerning that filmmakers of such works face obstacles stemming from the very fears their films aim to dismantle.
The contradiction lies in the celebration of exile stories on screen being met with restrictions on their creators based on migratory classifications. This irony is amplified by the production company receiving the Human Rights Award from Amnesty International for “The Weary On,” while “Kart Blue” itself tackles the issue of rejecting post-war stigmatization in Sudan.
The statement concluded by clarifying that this stance is not directed at the Berlin Film Festival itself but rather reflects a respect for the professional dignity of filmmakers from war-torn and unstable regions. It also signifies solidarity with refugees worldwide, emphasizing that cultural exchange cannot be achieved by prioritizing suspicion over artistic legitimacy.
مشاركة عربية بارزة في المهرجان
The 76th edition of the Berlin International Film Festival, which commenced on Thursday evening, February 12, 2026, and runs until February 22, features a notable and diverse Arab presence.
In the Panorama section, the film “Only Rebels Win” by Lebanese-French director Danielle Arbid presents Beirut as a city suspended between the memory of war and the aspirations of a young generation seeking a life beyond traditional molds. The film captures an unconventional love affair that blossoms amidst this conflict, employing a visual language akin to harsh poetry, making it one of the most discussed films in the section since the festival’s early days.
The Forum section highlights Moroccan and Tunisian cinema, including the film “The Silence of the Walls” by Moroccan director Murad El Khoudi, which delves into the lives of marginalized individuals in informal settlements through a narrative that blends realism with symbolic depth.
In the Generation section, the Tunisian film “Dreams of the Forgotten” addresses stolen childhood in border regions from a highly sensitive human perspective.
The Arab presence also includes a collection of short films by directors from Jordan and Palestine, underscoring Berlin Film Festival’s commitment to supporting cinematic voices from regions that typically lack extensive commercial exposure.
The situation raises important questions about the future accessibility of international film festivals for artists from conflict zones, and how these institutions will navigate visa challenges while upholding their commitment to diverse storytelling.
