As the inaugural edition of the Doha Film Festival (DFF) unfolds, it prominently features Sudanese cinema, symbolizing a cultural resurgence amid ongoing challenges in Sudan. The festival showcases films that reflect the struggles and stories of the Sudanese people, with a special focus on the debut feature, ‘Cotton Queen’, directed by Suzannah Mirghani. This film has already garnered significant acclaim, winning the Golden Alexander for best feature film at the Thessaloniki International Film Festival earlier this month.
Mirghani’s ‘Cotton Queen’ has made waves since its world premiere at the Venice Film Festival’s Critics’ Week. It has resonated with Sudanese audiences globally, who often express their excitement at seeing their homeland represented on screen. “The first reaction is always: ‘We’re seeing Sudan on screen,’” Mirghani notes, emphasizing the film’s impact, particularly among younger viewers.
The DFF’s spotlight on Sudanese culture is particularly significant. Mirghani reflects on the importance of being recognized in a world where many Sudanese communities feel overlooked. “Here, there’s a sense of being seen,” she explains. This festival marks a rare opportunity for Sudanese filmmakers to be featured prominently rather than relegated to the margins.
The journey of ‘Cotton Queen’ began with a script that evolved from a short to a feature film, with initial support from the Doha Film Institute. The earlier short film, ‘Al-Sit’, won the Canal+/Cine+ Award at Clermont-Ferrand, paving the way for the feature. Central to both projects is a deep exploration of Sudanese cotton, a symbol of the country’s heritage and struggles.
“Cotton is central to Sudan in every aspect,” Mirghani emphasizes, linking it to domestic rituals and economic empowerment for women. Her grandmother’s generation spun cotton into thread, a source of income and agency. “Even when others in the house had no income, the grandmother always had cash because she’s selling her thread,” she shares, highlighting the historical significance and empowerment tied to the crop.
In her research, Mirghani discovered that genetically modified cotton seeds had overtaken traditional varieties in Sudan. This revelation shaped the narrative of ‘Cotton Queen’, which follows a young girl named Nafisa as she navigates a power struggle involving these modified seeds. This coming-of-age story intertwines ecological and economic themes without descending into a mere lecture. “The film isn’t a lesson, even though there are lessons within it,” she insists.
The film also pays homage to the historic Cotton Queen competitions in the 1930s, which celebrated beauty among mill workers. Mirghani sought to reclaim this concept, turning it on its head to address deeper societal issues.
Initially, the film was intended to be shot entirely in Sudan with a predominantly Sudanese cast and crew. However, following the outbreak of war in April 2023, plans shifted drastically. Many collaborators were forced to flee to Egypt, leading the production to relocate. “In Sudan, there was genuine momentum for a film industry,” she notes, pointing to the international recognition of previous Sudanese films like ‘Goodbye Julia’ and ‘You Will Die at Twenty’. “The war disrupted everything: lives, livelihoods, cultural works.”
The transition to Egypt posed challenges but also offered a means of solidarity. Mirghani explains, “We followed them. Egypt wasn’t home for them. But it was where they were.” The natural landscape along the Nile provided a semblance of continuity, yet the emotional landscape was markedly different. Many cast members were young and displaced, having recently escaped the turmoil in Sudan. Yet, they found purpose in filmmaking. “They wanted the film to bring them together,” Mirghani observes, reflecting Sudan’s strong sense of community.
The set built in Egypt felt authentic to the cast, creating a sense of disorientation when they stepped outside. “We’d step outside and remember, ‘Oh my God, we’re not in Sudan anymore,’” she recalls. The film was produced through a wide-ranging co-production network, with collaboration from organizations including ZDF/Das Kleine Fernsehspiel, ARTE, and Film Clinic.
The DFF also celebrates Sudanese music through its Sounds of Sudan program, which resonates deeply with Mirghani. ‘Cotton Queen’ opens with traditional girls’ songs, marking a cultural assertion within the film. “The lyrics are very cheeky,” she notes, emphasizing the freedom expressed in these women-only spaces. The score, composed by Amine Bouhafa, integrates traditional Sudanese instruments, enhancing the film’s cultural authenticity.
Mirghani highlights the scarcity of Sudanese films, estimating that only about ten fiction films have been produced by Sudanese filmmakers. “We need quantity, quality, different perspectives,” she asserts, underlining the significance of the DFF’s focus on Sudanese cinema.
As the festival progresses, many of the film’s cast and crew, still dispersed across Egypt, will reunite in Doha for the screening. “We’ll watch the film together, on screen, for the first time,” she reflects, viewing this as a meaningful milestone.
Looking ahead, Mirghani hopes her film will foster connections among Sudanese communities worldwide. “Right now, we don’t have a country. Right now, the country is destroyed. So to be connected through this film would be my greatest measure of success,” she says. With international sales already managed by Totem Films, she envisions the film reaching Sudanese audiences in the diaspora and refugee contexts, creating a vital link for those separated from their homeland.
