The Doha Film Festival (DFF) has revealed the full line-up for its International Feature Film Competition, featuring 13 titles from across five continents that explore themes ranging from ecological collapse to war displacement and identity. Organisers said the section reflects the festivals commitment to championing bold, diverse voices in world cinema, particularly from underrepresented regions.
According to Qatar News Agency, Fatma Hassan Alremaihi, CEO of the Doha Film Institute (DFI), expressed that the festival was “honoured to amplify a diverse range of voices that will inspire change around the world.” She added that the selected films “represent the creativity and resilience of humanity” and demonstrate cinemas ability “to shape the future of our societies.”
Among the highlights of this years competition is “Khartoum” (Sudan/UK/Germany/Qatar), a documentary by Anas Saeed, Rawia Alhag, Ibrahim “Snoopy” Ahmad, Timeea Mohamed Ahmed, and Philip Cox, which follows five Khartoum residents displaced by war as they navigate loss and hope. Other selections include “Cotton Queen” (Sudan/Germany/France/Palestine/Egypt/Qatar) by Suzannah Mirghani, which blends ecological critique with a coming-of-age story; and “Once Upon a Time in Gaza” (Palestine/France/Germany/Portugal/Qatar) by Tarzan and Arab Nasser, set in 2007 and centred on three lives entangled in violence and revenge.
The competition also features “With Hassan in Gaza” (Germany/Palestine/France/Qatar) by Kamal Aljafari, offering a meditative reflection on memory and loss, and “The Presidents Cake” (Iraq/USA/Qatar) by Hasan Hadi, telling the story of a young girls resourcefulness under Saddam Husseins rule. Other international contenders include: “My Father and Qaddafi” (Libya/Lebanon/Qatar) by Jihan K, a personal search for truth and closure amid Libyas political past; “Renoir” (Japan/France/Singapore/Philippines/Indonesia/Qatar) by Chie Hayakawa, a family drama set in 1980s Tokyo; and “Sleepless City” (Spain/France/Qatar) by Guillermo Garcia Lopez, exploring friendship and identity in the outskirts of Madrid.
The list also includes “The Last Shore” (Belgium/France/Qatar) by Jean-Francois Ravagnan, revisiting the real-life drowning of a young Gambian migrant in Venice; “The Reserve” (Mexico/Qatar) by Pablo Perez Lombardini, a drama about community resistance and environmental defense; “Divine Comedy” (Iran/Italy/France/Germany/Turkey) by Ali Asgari, following a filmmakers underground struggle to screen his work; “Hair, Paper, Water” (Belgium/France/Vietnam) by Truong Minh Qu and Nicolas Graux, a portrait of an elderly woman preserving her endangered language; and “Blue Heron” (Canada/Hungary) by Sophy Romvari, portraying a Hungarian immigrant familys adjustment to life in Canada.
Running from 20 to 28 November 2025, the Doha Film Festival marks a new chapter in DFIs mission to nurture regional talent and spotlight urgent global stories. The events partners include Katara, Media City Qatar, Film Committee, and Visit Qatar. Venues such as Katara Cultural Village, Msheireb Downtown Doha, and the Museum of Islamic Art will be transformed into hubs of cultural exchange, welcoming filmmakers and audiences from around the world.
Festival organisers stated that the event aims to celebrate the power of art “to inspire, unite, and deepen understanding” through a selection of films, discussions, and community events.