Kaouther Ben Hania Opens Doha Film Fest: U.S. Distributors Reject ‘The Voice of Hind Rajab’

At the Venice Film Festival in September, Kaouther Ben Hania’s film “The Voice of Hind Rajab” received an exceptionally long standing ovation, lasting over 20 minutes, following its powerful and politically charged debut.

Ben Hania, a Tunisian filmmaker whose earlier works, “The Man Who Sold His Skin” and “Four Daughters,” garnered Oscar nominations, has been promoting “The Voice of Hind Rajab” at various film festivals. This film, which is Tunisia’s entry for the international feature category at the Academy Awards, tells the tragic story of a young 5-year-old Palestinian girl. She was found deceased in a car that had been targeted by Israeli forces in Gaza.

Prior to the film’s premiere in the Arab world at the first Doha Film Festival, Ben Hania discussed with The Bangin Beats the global reception of “The Voice of Hind Rajab” and the challenges faced in releasing the film in the U.S.

What are your thoughts on “The Voice of Hind Rajab” being the opening film at the Doha Film Festival, especially considering the support from the Doha Film Institute and Qatar’s role in mediating a ceasefire?

I am delighted that the film will be showcased in Doha. The decision came about when they requested to host the regional premiere. You know how competitive festivals in the region can be, with each one vying for the premiere. Then the Gaza International Festival for Women’s Cinema, which took place on October 26, expressed interest. We mentioned this to Doha, and they were accommodating. The film will also be shown in Cairo, Marrakech, and at the Red Sea Festival. Thankfully, all the festivals recognized the importance of screening this unique film wherever possible, reducing the need for competition.

There was some disappointment when “The Voice of Hind Rajab” didn’t win the Golden Lion at Venice. Can you share your feelings about that?

The premiere at Venice was unpredictable. The response from the press screening in the morning was unexpectedly emotional, with journalists applauding—a rare occurrence. At the gala premiere, the applause was unstoppable, even as we were asked to exit for the next film. It was an overwhelming experience. This reception was a significant achievement for me. Regarding the awards, the decision lies with the jury. I won the second prize, which I am pleased with, especially as the first prize went to a filmmaker I deeply admire, Jim Jarmusch.

Since its debut in Venice, how has the film been received?

Since the Venice premiere, the film has consistently won audience awards across various festivals, indicating its broad appeal.

“The Voice of Hind Rajab” has performed well in Italy. Has it been released in other countries, and what are the plans for its international rollout?

The film has indeed been successful in Italy, earning over $1.4 million despite not being dubbed, which is unusual there. It has been released in Tunisia and will soon be available across Europe, starting in France on November 26, and then throughout the Middle East in mid-December. Furthermore, it is being introduced in other countries, including Indonesia, marking the first time one of my films has been acquired there.

There has been difficulty in securing U.S. distribution for the film. Can you elaborate on this challenge?

Securing a major U.S. distributor has been challenging despite the film’s strong start at Venice. Major distributors have passed on it, so it is being distributed by WILLA, our executive producer. The film also represents Tunisia in the international Oscar race, and I hope it will resonate with American audiences and inspire action, not just viewership.

What impact do you hope “The Voice of Hind Rajab” will have on audiences?

The voices from Palestine are often suppressed, and this film aims to bring them to the forefront. I created this film during a period of personal contemplation about the role of cinema today and its potential to effect change. My hope is that the film moves beyond just being a viewing experience to becoming a catalyst for action and change.

Given the recent ceasefire agreement, how do you see your film relating to the ongoing conflict?

It’s difficult to predict the future impact of the film concerning the conflict. The situation continues to worsen daily, and the film addresses these deep-seated issues which a ceasefire alone cannot resolve. True justice is needed, especially for the victims like Hind and many others.

This interview has been edited and condensed for clarity.