Samira Hadj Djilani, a leading Algerian film and audiovisual producer and cultural manager, served as one of seven jury members for the International Competition at the 43rd Fajr International Film Festival.
Formerly the head of Algeria’s first private television channel, “Khalifa TV,” she brings extensive experience in cinema and media production. Notably, she produced “Ahmed Bey,” a landmark Algeria–Iran co-production aimed at presenting Algerian cinema to global audiences. In this interview with the festival’s press office, Hadj Djilani shares her reflections on judging, her experience in Iran, and the poetic cinema that defined this edition of FIFF.
Please tell us about your experience in Iran and serving as a jury member at the 43rd Fajr International Film Festival.
For many years, I had been waiting for the opportunity to attend the Fajr International Film Festival. This year, I was truly pleased that the festival organizers made it possible for me to be part of this event. FIFF is a prestigious and large-scale festival, and its significance is evident both in its long history and the wide range of countries represented. Overall, the films I watched were of a good standard. Although the judging process naturally had its ups and downs, it concluded smoothly, and I did not feel exhausted. I believe this was largely due to the quality of the films, as well as the warm and welcoming atmosphere of the festival.
Did any challenges arise among the jurors during the judging process, particularly in terms of differing opinions?
There were differences of opinion among the jurors, especially when it came to selecting the Best Film and a few other categories. However, the process was guided by respect for democratic principles and freedom of expression. In the end, decisions were made through voting, and the majority view prevailed. Naturally, differences of opinion are an essential part of any jury process, as each member brings a distinct perspective and sensibility to the films. In fact, the absence of differing views would be unusual. Therefore, I was fully prepared for such discussions and anticipated them from the outset.
In the films you watched at the festival, did you observe the poetic elements called for by the theme?
Many of the films that aimed to capture poetic cinema succeeded in creating moments of poetic atmosphere, though this was true only for some of the works. As jury members, we focused on selecting films that met the criteria and essence of poetic cinema, emphasizing both subtlety and emotional depth.
How would you define poetic cinema from your own perspective?
I have a deep appreciation for this type of cinema—films that resonate with human emotions and convey the subtleties of human experience. To me, that is the essence of poetic cinema, and I have always been drawn to it. Additionally, poetic cinema encourages reflection and evokes feelings that linger long after viewing.
Given your experience at international festivals and your background in Algerian cinema, how do you evaluate the Fajr International Film Festival in comparison with similar events?
The Fajr International Film Festival, with its rich cultural diversity and the high quality of the films presented, occupies a distinctive place among international festivals. Its professional organization and warm hospitality toward foreign guests contribute to its potential to become one of the major cinematic events on the global stage. In particular, FIFF demonstrates a thoughtful balance between showcasing local culture and meeting international festival standards.
What suggestions would you offer for strengthening the international section of the Fajr Festival in the coming years?
I would recommend expanding the presence of filmmakers and films from underrepresented regions of the world. This approach would foster a richer cultural exchange and help position the festival as a stronger bridge between East and West. Additionally, inviting a more diverse range of voices would enhance both the quality and the global reputation of FIFF.
