Final yr marked the premiere of the Kurdistan Film Commission (initially often known as the Kurdistan Movie Fee Slemani earlier than a broadening of actions) on the worldwide movie stage at Cannes. The world’s greatest movie competition marked the coming-out social gathering for the fee of the small semi-autonomous area in northern Iraq below the workplace of Deputy Prime Minister H.E. Qubad Talabani, who’s the president of the group. This yr, he, Bavi Yassin, founder and chair of the movie fee, and her group are again at Cannes for an encore.
The mission of the fee, positioned within the cultural hotspot metropolis of Slemani, is to empower Kurdish creatives by means of coaching and assist, convey overseas creatives to Kurdistan and set up it as a filming vacation spot, and to assist convey the area’s tales to the world.
Recruitment for workers, in Slemani, often known as “Suli,” and elsewhere, has been in full swing. For Cannes 2026, the group additionally packed some monetary information. After final yr signaling plans for a fund, the Kurdistan Movie Fund was formally unveiled throughout a Wednesday occasion, entitled “Owning Our Story,” at the Cannes Marché. The fund is value $2 million per yr.
a Location Managers Guild International scouting journey visited Kurdistan’s Hawraman area and the native bazaar, courtesy of Kurdistan Movie Fee
Courtesy of Kurdistan Movie Fee
Talabani highlighted the uniting power of storytelling on the occasion, saying: “We want to show the world that despite political differences, despite regional tensions, or war, that cinema can cross those boundaries, that storytelling can unite where politics divides. This fund is not just an opportunity for Kurdistan. It’s a signal to the region that we see the momentum and that we want to be part of it, that we are willing to invest in the relationships, the collaborations, the partnerships that make this region stronger.”
The area has lengthy thought-about itself a connector slightly than a divider. “For centuries, Kurdistan has been a bridge between cultures, between civilizations, between worlds. That is our geography, that is our history,” he informed the gang. “We want to be a bridge, not a battlefield. We want to build, not destroy. We want to create an industry, an opportunity where there is currently division.”
The deputy prime minister additionally highlighted the significance of fixing the narrative. “We have decided that today, Kurdistan stories will no longer be told by others on our behalf,” Talabani informed the Cannes viewers. “We will tell them ourselves, on our terms, with the depth and accuracy that only we can provide.”
And the movie and artistic sectors play a key function right here. “They are essential parts, because how a nation tells its story determines how it is seen, how it is understood, how it attracts investment, talent and partnerships,” he mentioned. “We are ready to be seen, to be understood, to be part of the global conversation, not as subjects, certainly not as victims of history, but as participants.”
Kurdistan Movie Fee coaching session, courtesy of Kurdistan Movie Fee
Courtesy of Kurdistan Movie Fee
Yassin additionally emphasised the main focus areas of her work. “Kurdish films have always relied on external support, without a solid system of their own. The fund changes that by placing the Kurdish narrative at the center, wherever it is told in the world,” she tells THR. “It is not only about financing films – it is about creating ownership, continuity, and visibility for Kurdish stories on an international level. At the same time, it is designed to open the door for global creators and producers to engage with Kurdish talent and stories through meaningful collaboration.”
The objective: “to create a structure that supports our narrative, while also encouraging international interest – and ultimately, to start bringing that attention back to Kurdistan itself.” Fund evaluations will heart on inventive benefit, however not solely. “Projects are assessed on their international co-production potential, their ability to circulate, and their relevance to the local ecosystem,” shares Yassin. “We are looking for films that can connect Kurdistan with global partners while also contributing to the industry’s development on the ground.”
Attracting movie and TV productions has each cultural and financial advantages, each near- and long-term. “For Kurdistan, this is about diversification,” highlights Yassin. “The audiovisual sector brings immediate economic activity – jobs, services, infrastructure – but beyond that, it builds long-term value. It shapes how a region is seen globally and opens the door to cultural tourism. When people see a place on screen, they connect with it. That connection creates curiosity, and over time, it translates into real interest in visiting and engaging with that place.”
However making Kurdistan interesting to filmmakers is multi-layered, she emphasizes: “It is the combination of authenticity, access, and cost effectiveness.”
Kurdistan Movie Fee at Cannes Marché 2026, courtesy of Kurdistan Movie Fee
Remember that the treasure trove of tales from the area hasn’t been extensively seen across the globe. “There is a strong narrative identity. Kurdistan offers stories, locations, and cultural depth that have not been overexposed,” emphasizes Yassin. “For European and Asian partners, this represents originality – something audiences have not seen repeatedly.”
Such authenticity meets entry in relation to location scouting, the place Kurdistan can supply one thing new. “I have had professionals reach out to us, saying they are tired of the overused locations that always stand in for other countries they so much need,” the fee’s chair shares with THR. “Kurdistan is in the MENA (Middle East/Northern Africa), very accessible, and yet it has four proper seasons per year, a wide range of diverse locations, from extreme greenery to drylands, waterfalls, mountains and hills, rivers, and urban cities. These locations can stand in for Syria, Afghanistan, Pakistan, Iran, and so many more.”
Some experiences with stunned guests even supplied laughs. Yassin, for instance, remembers taking individuals to some areas, “and they said, ‘It looks precisely like Ireland!’ Can you believe that: In the heart of the MENA, there is a country with corners that look like Ireland!”
Cash, after all, can also be a key consideration for productions. “This industry is very expensive,” Yassin is aware of, highlighting that Kurdistan “offers a cost-effective filming environment.” She even sees alternatives for collaborations with producers throughout the area. “How many times have we seen Egyptian films seeking locations in Europe for their greenery and landscapes, and how much does it cost them?” Yassin tells THR. “They can find it all right here.”
How about that effectivity argument? “Within a very compact geography, productions can access a wide range of locations – urban, rural, mountainous – without the logistical complexity or costs found in many other countries,” she notes. “This has a direct impact on budgets and timelines.”
Kurdistan gives various landscapes, a few of which may very well be a stand-in for Eire, courtesy of Kurdistan Movie Fee
Courtesy of Kurdistan Movie Fee
However there are additionally manufacturing assist and tender incentives, which she describes as “often underestimated,” given a conventional concentrate on money rebate percentages. “What matters in practice is the total cost of production,” Yassin emphasizes. “In Kurdistan, facilitated permits, flexible coordination, access to locations, and overall lower operational costs make it highly competitive – even without relying solely on large rebate schemes.”
To make sure native expertise has what is required, the Kurdistan Movie Fee Slemani has, over the previous yr, had all types of coaching, training and expertise growth initiatives. Among the many occasions have been a five-day Kurdistan Producers Lab for producers and administrators, protecting movie budgeting, financing, funding purposes, and advertising and marketing, in collaboration with European Audiovisual Entrepreneurs (EAVE). There was additionally a four-day workshop on location administration and scouting, led by John Rakich, president of the Location Managers Guild Worldwide (LMGI), and Andrea Keener, a LMGI board member and senior location supervisor, who has labored on such TV sequence as Chilly Case and Scandal and such function movies as Ant-Man, Captain America, and Killers of the Flower Moon.
The fee plans to proceed and increase its coaching alternatives. “This year, we will work with top professionals around the world and highly established institutions on scriptwriting, documentaries, and more focused professional training for crews, especially below-the-line,” Yassin tells THR. “We will also start our Suli Screens programs, which are free of charge film screenings all over the city.”
For productions seeking to shoot within the area, the fee is providing a database of places, together with the likes of the archaeological stays of Bazyan, an historic Christian web site estimated so far again to the sixth century, the Purple Jail Museum, a web site previously recognized for its brutality earlier than being deserted and reopened in 2003 as a museum, and Tuni Baba, a gorge recognized for its gorgeous surroundings.
Yassin even has information of a global challenge to share. “We have a Canadian film production, Daudistan, coming this year,” she tells THR. A synopsis for the drama from writer-director Ariel Nasr on Cinando reads like this: “On the eve of Kabul’s fall to the Taliban, Afghanistan’s star runner Daud Ahmadi returns from a Canadian detention center to reunite with his sister Tayiba. Together, they must confront a city in collapse and fight to reclaim their shattered dreams before everything they love is lost forever.”
Yassin mentions “a few more [projects] in the pipeline, but the unexpected war in the region has affected production, not just in Kurdistan but across the entire MENA region.” Sure, the conflict in Iran has been the elephant within the room within the area, including to worries across the Gaza conflict.
“I appreciate this question, because it goes beyond Kurdistan – it speaks to the reality of an entire region,” the movie fee chair highlights. “The truth is, many countries in our region are affected by conflicts they are not directly part of. As Kurds, this is something we have lived with for decades. We are often carried by the consequences of wars that are not ours, yet we absorb their impact – politically, economically, and culturally. One of the first sectors to suffer is film: production slows down, and, more importantly, a region’s reputation—something that takes years to build – can be affected almost overnight. But there is another reality that is often overlooked. If you look at daily life in a place like Kurdistan, it is stable, functional, and safe. There is a disconnect between perception and reality, and part of our role is to correct that.”
Kurdistan even options snowy landscapes, courtesy of Kurdistan Movie Fee
Courtesy of Kurdistan Movie Fee
That is why being at Cannes is vital. “Our presence is a statement: that we are open, that we are building, and that we are not waiting for perfect conditions to start,” says Yassin. “In times of conflict, support for the arts is not secondary – it becomes essential. Culture is what preserves identity, what sustains people, and what allows a region to define itself rather than be defined by others.”
The Kurdistan Movie Fee Slemani can also be bringing filmmakers to Cannes to community and pitch their tasks on the Marché du Movie. And it’s organizing the first-ever Kurdistan Producers Circle at its Cannes market stand. “We are selecting 10 projects,” explains Yassin. “They will have the opportunity to meet top established producers and present their work in a focused setting. This is not about visibility alone – it is about creating real connections and opening doors. …Importantly, as we reintroduce Kurdistan to the international industry, we are not limiting ourselves to the domestic market. We are selecting projects from across the wider region, not only Kurdistan. This is a deliberate choice. It reflects how we see our role: not only building locally, but positioning Kurdistan as a platform for collaboration.”
Concludes Yassin: “Ultimately, this is what we are doing – building bridges that did not exist before.”
And, she emphasizes, the fee has simply barely began its work. “After one year since the official establishment of our film commission, I do not expect a mountain of productions coming our way. The fact that, in less than a year, we were contacted multiple times and considered for production gives me hope for what comes next,” Yassin tells THR. “Of course, welcoming foreign production is also my top priority, but people still don’t know us yet! All they know is stories related to sadness, war and politics. My main objective is to change people’s minds about how they see us. Once they do that, trust me, they won’t be able to resist the beauty and versatile location, and the enormous cost-effectiveness.”
