First Conference of Rojava’s Filmmakers
Last weekend, from 24th until 26th of July 2026, the first conference of Rojava’s filmmakers took place in Qamişlo under the slogan “Toward a New Cinema.” More than 100 filmmakers and media professionals gathered for three days to exchange experiences and perspectives. The first day started with a broad discussion about the importance of cinema and basic principles of film production, about the goals of the filmmakers and represented film institutions, about their relationship with society, about Kurdish Cinema and about the women’s issue in cinema.
The discussion then turned to the training opportunities for filmmakers that have developed in recent years. The importance of the newly founded College of Fine Arts in Dêrik and the Hîlala Zêrîn Women’s Art College in Heseke was particularly emphasized. Furthermore, the discussion focused on the structures established in the areas of production and post-production and the challenges that need to be addressed in the future. Finally, the discussion turned to how to promote the films produced to a wider audience. The problem of the lack of cinemas with reliable electricity and technical equipment in Rojava was discussed. Those present agreed that the now annual Rojava International Film Festival is an important opportunity to screen films and strengthen cinema culture in Rojava.
The Revolution Has Created New Opportunities
Nadya Derwiş is a director and part of the Rojava Film Commune. She talks about filmmaking in Rojava and the significance of the conference: “This professional filmmaking is new for Rojava. Previously, there weren’t opportunities for someone to say, ‘Come on, let’s make a film for the cinema!’ As Kurds of Rojava we lately got to know cinema. There are many important events in our history, many popular uprisings, that weren’t documented. The revolution has changed that, now there are possibilities. However, we have the problem that there’s a lack of people with experience. There are people who have left their homeland and are making films in Arab countries or in Europe. But they don’t bring their Kurdish culture with them. Their roots are no longer recognizable, they’ve took over the colour of Arab Syrians or Europeans. We want to strengthen Kurdish cinema, and through our liberation struggle, we have created conditions that don’t exist in other parts of Kurdistan.”
Nadya acknowledges that significant filmmaking experience has been gained in Rojava since the beginning of the revolution. At the same time, she self-critically notes that even more and better films could have been made. She hopes that an association of Kurdish filmmakers will be established after the conference. “We need something like this to demand our rights and to organize our work even more effectively in the future.”
A Foundation Has Been Laid – The Next Steps Must Follow
On the second day, the central question was initially which institutions, organizations, and companies had already been established, how they operate, and which others need to be created to strengthen filmmaking. The discussion also focused on available training opportunities in the area of filmmakers’ rights, particularly for actors, and how these can be addressed. A lively discussion ensued, exploring the various organizational forms available, such as communes, councils, syndicates, and associations.
The second part of the day was dedicated to the topic of relationships with other filmmakers and institutions within Syria, Kurdistan, and worldwide. The difficulty Kurdish filmmakers from different parts of Kurdistan face in being unable to come together and work due to war and colonization, the division of Kurdistan, and state borders was highlighted. Furthermore, experiences were shared that filmmakers from abroad often tell stories with an Orientalist perspective. There is a need for greater cooperation with socialist and democratic artists who want to learn from the Rojava Revolution and are interested in long-term collaboration on equal terms. Finally, the need was emphasized to represent the interests of all Kurdish filmmakers with a united voice in the current changes within Syria and the ongoing integration process.
Female Filmmakers Fight Against Sexism And Want to Tell Their Own Stories
Women in Rojava have gained many new opportunities through the revolution, but at the same time they still face particular challenges in all areas of life. Şerda Osman is a cinematographer and director of the women’s film institution Sîne Jin. She describes the situation for female filmmakers: “We have weaknesses in terms of our knowledge and experience. With our institution, Sîne Jin, we have created, for the first time in Rojava’s history, a place where female filmmakers can come together to learn and work. This is a completely new experience. Unfortunately, there are still many difficulties for women in our society, and these have a major impact on all filmmakers and on our work.”
She tells the story of one of her employees whose family is plagued by constant arguments between her father and mother. “The father hits the mother. In such situations, our employee can’t leave home because she has to care for her mother. She constantly lives in fear that her father will hit or even kill her mother.” In another employee’s family, there are frequent illnesses. There are expectations that her colleague, as the daughter, should give up her job, stay home, and take care of the household. In yet another family, there’s the expectation to receive a higher salary. One of her employees, who loves filmmaking, left Sîne Jin to take a better-paying job.
“We are confronted daily with how sexism in society attacks us. Because women are seen as less intelligent and talented, we are given less credit and fewer opportunities to realize our ideas. We at Sîne Jin want to make the reality of women known. Not as they want us to be, but as we see ourselves. We fight for this and work hard to write scenarios that address women’s stories and their desieres.”
Important Decisions for Filmmakers in Times of Political Upheaval
On the final day, the results of the discussions were summarized and further steps were decided upon. An association of filmmakers from Rojava will be established to represent their interests and safeguard their rights.
Şerda Osman emphasizes the significance of the conference and the association of filmmakers for her as a filmmaker in the current political dynamics of Syria and Kurdistan: “After the fall of Assad, a new government was formed. But this government recognizes neither the rights, nor the identity, nor the self-determination of women. This has a major impact on us as women, on our society, and on us as filmmakers. It is very important for us to participate in this conference. Through an association of democratic filmmakers from Rojava, we can collectively defend the rights of women filmmakers.”
At the conclusion of their conference, Rojava’s filmmakers emphasized that they understand cinema not only as art, but also as a vital tool for preserving Kurdish history, identity, and culture. Through collaborative education and production, they aim to create even more and better films in the future and establish a stronger presence in the international film landscape. Furthermore, they intend to strengthen cooperation with filmmakers from all parts of Kurdistan and the diaspora. It was decided that a five-member committee will be responsible for implementing the conference’s outcomes. Filmmakers Diyar Heso, Reşîd Mihemed, and Sevînaz Evdikê will serve on this committee.
For a Truthful And Aesthetic Cinema With Strong Women
Nadya Derwiş shares her wish to make more documentaries in the future: “I became a director through this revolution. I make films with effort, patience, and passion. My dream is that we produce even more films. Film is a powerful weapon. We should make films about resistance, love, and historical themes. Whether it’s the battle for Kobanê, the liberation of Raqqa, or the resistance at the Tishreen Dam, we must document these collective experiences. There is so much I have experienced and seen that I want to share with others: the stories of all the people who were displaced and had to flee multiple times, the stories of those who died as martyrs of revolution, or how young people from Bakur and Bashur came here all alone to join the resistance. If we don’t tell these stories, no one will, and they will be forgotten.”
Şerda Osman also shared her perspective for the future: “I have decided to dedicate my entire life to filmmaking. So that we as women can continue to develop and build an art of free women. I want our films to contribute to finding solutions to the problems of society and women. We as women have an existence and a truth. And as women, we will continue to make films in the future.”
The conference created a space where reflections and critiques could be expressed and important further organizational steps could be decided upon. The conference’s final declaration states: “The fundamental principles on which Rojava cinema is based are that our cinema is free and modern. A cinema that is in harmony with the values of free women. A cinema that recognises the origins of its society and takes its identity as its foundation. A cinema that protects and promotes the values of democracy, diversity, and different cultures. A cinema that is truthful, honest, and aesthetic.”
