The 68th BFI London Film Festival (LFF) returns this October, offering an eclectic mix of films from around the world to satisfy the appetites of cinephiles in London and across the UK. Spanning twelve days, from Oct. 9-20, the festival will present 253 films, shorts, series, and immersive works. This year’s program stands out with an impressive selection of films from the Middle East and North Africa (MENA).
MENA films often face significant challenges in securing worldwide distribution, particularly in the UK. Some may take years to reach broader audiences, while others may never see a theatrical release outside their home countries. With that in mind, the LFF offers a rare opportunity to experience these cinematic gems.
Tunis
Two Tunisian films in this year’s lineup feature protagonists named Aïcha, each grappling with their own distinct struggles.
In Aïcha, Mehdi M. Barsaoui, known for his acclaimed debut A Son, shifts focus to the female experience in a gripping drama about a young woman on the run from her past. Aya, a woman in her late twenties, feels trapped in her mundane life in southern Tunisia, living with her parents and working at a local hotel. After surviving a car crash, she assumes a new identity in Tunis, only to become the sole witness to a police mishap that threatens to unravel her carefully constructed façade.
Meanwhile, Meryam Joobeur’s Who Do I Belong To takes a more introspective approach, exploring the emotional fallout of a son’s return from war. Mehdi, who has been fighting in Syria, comes back to his parents’ home in North Tunisia with a pregnant wife in tow, sparking tension and confusion in his mother, Aïcha. The film delves into the psychological and social ramifications of Mehdi’s return, exposing deep rifts within the family and community.
Iran
Iranian filmmakers often risk their lives and freedom to tell stories that challenge the status quo. Mohammad Rasoulof, a prominent voice in Iranian cinema, returns to LFF with The Seed of a Sacred Fig. Known for his activism and for facing persecution by the Iranian regime, Rasoulof presents a tense political thriller set within the domestic sphere. The film follows Iman, a judge in Tehran’s Revolutionary Court, as he navigates growing national protests and personal paranoia after discovering his gun has gone missing. Suspicion falls on his wife and daughters, leading to a suffocating atmosphere of control and distrust within the family.
Offering a different tone, Farahnaz Sharifi’s My Stolen Planet explores life under repression through a more hopeful lens. This essay-style documentary weaves together personal histories and 8mm footage, painting a poignant picture of resilience amid adversity.
British-Iranian filmmaker Sasha Nathwani makes his feature debut with Last Swim, a coming-of-age drama co-written with Helen Simmons. Set in contemporary London, the film follows Ziba, a British-Iranian teenager, on A-Level results day as she grapples with family secrets and tough decisions that will shape her future.
Palestine
The LFF takes place against the backdrop of Israel’s ongoing genocide against Gaza and the occupied Palestinian Territory, making the inclusion of Palestinian stories more critical than ever. The festival presents a powerful lineup of films that shine a light on the Palestinian experience, offering audiences a chance to engage with narratives that are too often marginalized.
Among the standout selections are Kamal Aljafari’s A Fidai Film, Noor Abed’s A Night We Held Between, and Mahdi Fleifel’s To A Land Unknown. These films provide a mix of personal, historical, and political reflections on the Palestinian struggle.
Of particular note is Laila Abbas’s feature debut, Thank You for Banking With Us, which will have its world premiere at the festival. This darkly comedic drama tackles the issue of gender discrimination in Sharia law through the story of two sisters, Maryam and Noura, who must race against time to secure their inheritance before their brother claims half—solely because he is male. The film offers a biting commentary on patriarchal norms and women’s rights, echoing themes seen in Amjad Al Rasheed’s Inshallah A Boy, while bringing its own sharp wit and social critique.
