Imagine a world where creativity defies the chaos of war and displacement, delivering a powerful message of hope and resilience. That’s the heartwarming yet gripping story behind the latest Thessaloniki Film Festival, where a groundbreaking Sudanese drama claimed the spotlight despite the turmoil engulfing its homeland. But here’s where it gets controversial—can art truly thrive amidst genocide and civil strife? Stick around as we dive into the festival’s standout moments, and you might just find yourself questioning the role of cinema in our troubled times.
Leading the charge was Suzannah Mirghani’s Sudanese drama “Cotton Queen,” which snagged the prestigious Golden Alexander for the best feature film on Sunday. This isn’t just any win; it’s a landmark achievement, marking the very first feature film directed by a Sudanese woman. The film captivated the jury, a stellar lineup including Match Factory’s head of sales Thania Dimitrakopoulou, acclaimed U.S. cinematographer Frederick Elmes (known for classics like “Blue Velvet” and “Wild at Heart”), and writer-director Elegance Bratton (of “The Inspection”). Bratton summed it up perfectly: “Cotton Queen” “blew us all away.”
“This film sat with all of us judges from beginning to end,” Bratton added, emphasizing its profound impact. “As we live in a world consumed by genocide and war, it’s important to remember what we’re all fighting for: our families, ourselves, our friends, our communities. This film…kept us focused on what matters most.” It’s a reminder that even in darkness, stories can illuminate the human spirit, making this debut not only arresting but deeply moving for those grappling with global conflicts.
For beginners curious about the plot, “Cotton Queen” centers on Nafisa, a young Sudanese woman residing in a village along the Nile River. She’s the granddaughter of the legendary “Cotton Queen,” an elder revered for her fierce resistance against British colonization and her rumored gift of foresight. Nafisa toils in her grandmother’s cotton fields while harboring dreams of romance with a local young man. But things take a dramatic turn when a affluent businessman from London arrives, prompting Nafisa’s family, her grandmother, and the entire community to scheme about her future without consulting her. Think of it as a modern fable blending tradition, ambition, and personal agency—simple enough for newcomers to follow, yet layered with cultural nuances that spark reflection. The film first graced screens in the Critics’ Week at this year’s Venice Film Festival, building anticipation for its Thessaloniki triumph.
In her acceptance speech for the Golden Alexander, Mirghani paid tribute to Sudan, currently ravaged by a brutal civil war, and to her Sudanese cast and crew, many of whom are displaced and seeking refuge in Egypt where the movie was filmed. “In this time of war and of genocide, to make a film with actors who are now all displaced from their homes, all in Egypt where we shot the film, seeking refuge — to show that you can still work, you can still make a film, you can still make art in this time and be recognized for it, is really the most welcome news at this time,” she declared. And this is the part most people miss: her words challenge us to consider whether creating art during crises is an act of defiance or perhaps even a duty. Is it empowering, or does it distract from the urgent needs on the ground? It’s a debate worth exploring—do you see filmmaking as a lifeline or a luxury in such scenarios?
Shifting gears to other highlights from the international competition, Greek filmmaker Aristotelis Maragkos earned the Silver Alexander for best director with his second feature, “Beachcomber.” This tale follows a young man pursuing his sailor’s father’s legacy, only to face the harsh reality of his own identity. The film also claimed the Artistic Achievement Award for Best Cinematography, thanks to the stunning work of DoP Giorgos Karvelas, showcasing how visuals can mirror internal struggles.
The best actor prize went to Harry Melling for his nuanced role as a mild-mannered traffic warden discovering his submissive desires in Harry Lighton’s queer romance “Pillion.” Meanwhile, best actress honors landed with Sabrina Amali, portraying an Egyptian archaeologist haunted by her past in Nancy Biniadaki’s “Maysoon.” A Special Award for Best Screenplay was bestowed upon Yvonne Görlach for her script in Christina Tournatzès’ “Karla,” highlighting the craft of storytelling in diverse narratives.
Over in the Meet the Neighbors+ section, which spotlights debut or sophomore films from 36 countries in Southeastern Europe, the Mediterranean, and the Middle East, “The Last One for the Road” by Francesco Sossai took the Golden Alexander for best feature. This boozy dramedy about two aging drinking buddies premiered in Cannes’ Un Certain Regard and also won best actor for its leads, Pierpaolo Capovilla and Sergio Romano—think bromance with a hangover twist.
The Silver Alexander for best director in this category went to Yanis Koussim for the horror flick “Roqia,” where a young Algerian man battles mysterious nighttime tormentors after a car accident-induced amnesia. Best actress in Meet the Neighbors+ was Manuela Martelli, embodying a Chilean widow in Hana Jušić’s “God Will Not Help,” which also secured the Best Artistic Achievement award—proving horror and drama can blend powerfully to explore grief.
In the innovative Film Forward competition, Mehrnoush Alia’s “1,001 Frames” claimed the Golden Alexander, while Manoël Dupont’s “Before/After” grabbed the Silver Alexander, with stars Jérémy Lamblot and Baptiste Leclere receiving a Special Mention. Kristen Stewart’s “The Chronology of Water” earned the Best Artistic Achievement award, showcasing experimental edges in filmmaking.
Other major triumphs included “Bearcave,” a queer romance from first-time directors Stergios Dinopoulos and Krysianna Papadakis, which debuted in Venice Days and swept seven awards in Thessaloniki, and “Patty Is Such a Girly Name” by Giorgos Georgopoulos, which notched five wins after its world premiere—proof that fresh voices are electrifying the scene.
The Thessaloniki Film Festival, running from October 30 to November 9, wrapped up with these inspiring wins. As we reflect on films like “Cotton Queen” that confront war head-on, it begs the question: Should artists prioritize creation over activism in times of crisis, or are they one and the same? What do you think—does cinema offer real hope, or is it just escapism? Share your thoughts in the comments; I’d love to hear your take, especially if you disagree!”