The Doha Film Festival (DFF) has made a bold statement by spotlighting Sudanese cinema, showcasing films that reflect the resilience of a nation amid conflict. Among the featured works is Cotton Queen, the debut film by Sudanese director Suzannah Mirghani, which recently won the Golden Alexander for best feature film at the Thessaloniki International Film Festival. This recognition not only marks a significant achievement for Mirghani but also elevates the visibility of Sudanese cinema on the international stage.
As the festival commenced, it coincided with a period of turmoil in Sudan, characterized by ongoing war and mass displacement. Mirghani’s film, which screens in the festival’s International Feature Film Competition, encapsulates a moment that is both celebratory and politically charged. “The first reaction is always: ‘We’re seeing Sudan on screen,’” she remarks, emphasizing the importance of representation for Sudanese audiences, particularly younger generations.
Cotton Queen began as a script that shifted between short and feature format. Mirghani first created the short film Al-Sit in 2020 as a proof of concept, which garnered acclaim and laid the groundwork for her feature debut. The film draws inspiration from the history and cultural significance of Sudanese cotton, a crop that has been integral to the country’s identity and economic agency, particularly for women.
Mirghani highlights the importance of cotton in Sudanese life, recalling how women of her grandmother’s generation spun cotton into thread, gaining economic independence. “Even when others in the house had no income, the grandmother always had cash because she’s selling her thread,” she explains. This history intertwines with the narrative of Cotton Queen, which addresses the impact of genetically modified cotton seeds introduced in Sudan in 2012. By 2020, these seeds had largely replaced traditional varieties, leading to a dramatic change in the agricultural landscape.
At the center of the film is teenage protagonist Nafisa, portrayed by Mihad Murtada. The story unfolds as she navigates a power struggle over the genetically modified seeds, intertwining a coming-of-age narrative with ecological and economic commentary. Mirghani aims to present these themes without veering into didacticism: “The film isn’t a lesson, even though there are lessons within it,” she states, inviting audiences to engage with the stakes through the eyes of her characters.
The film also pays homage to historical Cotton Queen competitions held in the 1930s, which were beauty contests for mill workers. Mirghani seeks to reclaim this concept, transforming it into a narrative that reflects contemporary realities. Initially, the film was set to be shot entirely in Sudan with a predominantly Sudanese cast and crew. However, with the outbreak of conflict in April 2023, those plans changed drastically.
Collaborators were forced to flee to Egypt, prompting the production team to relocate. Mirghani notes the vibrant momentum that had been building in Sudan’s film industry, citing recent successes like Goodbye Julia and You Will Die at Twenty. “The war disrupted everything: lives, livelihoods, cultural works,” she observes, underlining the significant impact of the ongoing conflict.
Despite the challenges, the film’s production in Egypt became a source of solidarity and community for the cast and crew, many of whom were young and displaced. “They wanted the film to bring them together,” Mirghani notes. The set, designed to replicate a Sudanese village, was so immersive that it often blurred the lines between their new location and home.
The multinational co-production involved numerous partners, including Caroline Daube and Didar Domehri of Strange Bird, Maneki Films, and Philistine Films. Their collaboration was crucial as the project adapted to the changing circumstances surrounding its creation.
In addition to cinema, DFF also features a Sounds of Sudan music program, which resonates with Mirghani’s approach to storytelling. The film opens with traditional girls’ songs, called aghani albanat, performed in women-only spaces, allowing for a unique narrative voice. The score, crafted by Amine Bouhafa, integrates Sudanese instruments and features modern interpretations of traditional songs by Brooklyn-based Sudanese singer Alsarah.
Mirghani expresses a profound sense of urgency regarding the state of Sudanese filmmaking, estimating that only about ten fiction films have been produced by Sudanese filmmakers. “We need quantity, quality, different perspectives,” she asserts, recognizing the cultural void that exists. The spotlight on Sudanese cinema at DFF is particularly significant as it draws attention to these underrepresented voices.
As the festival progresses, many members of the cast and crew, still dispersed across Egypt, will gather in Doha for the screening of Cotton Queen. “We’ll watch the film together, on screen, for the first time,” Mirghani reflects, emphasizing the emotional weight of this moment.
Looking ahead, Mirghani hopes to foster connections through her film, acknowledging the current devastation in Sudan. “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 states. With international sales being managed by Totem Films, she envisions the film reaching Sudanese communities worldwide, aiming to create a point of connection for audiences, no matter where they are.
