27th edition


  1. Abou Seddam, Nadine Khan , Egypt, 2021 [ INFO ]
  2. ALGHARIB, Ameer Fakher Eddine , Syria, Germany, Palestine, Qatar, 2021, 112′ [ INFO ]
  3. DESTELLO BRAVÍO, Ainhoa Rodríguez , Spain, 2021, 98′[ INFO ]
  4. KERR, Tayfun Pirselimoglu , Turkey, Greece, France, 2021, 101′[ INFO ]
  5. The sea ahead, Ely Dagher, France, Lebanon, Belgium, USA, Qatar, 2021, 116′[ INFO ]
  6. Habiba, Hassan Benjelloun, Morocco, 2021[ INFO ]
  7. The world after us, Louda Ben Salah-Cazanas France, 2021, 85′[ INFO ]
  8. Blue Moon, Alina Grigore , Romania, 2021, 85′ [ INFO ]
  9. GADEHA, a second life, Anis Lassoued , Tunisie , 2021, 90′[ INFO ]
  10. Piccolo corpo, Laura Samani, Italy, France, Slovenia, 2021  [ INFO ]
  11. Salon Huda, Hany Abu-Assad, Palestine, Egypt, Netherlands, Qatar, 2021 [ INFO ]
  12. Vera dreams of the sea, Kaltrina Krasniqi , Kosovo, Albania, North Macedonia, 2021, 87′[ INFO ]


  1. Icare, ou la mesure des choses, Patrick Jean, Belgium, France, 2021, 83′ [ INFO ]
  2. Beirut eye of the storm, Mai Masri, Lebanon, 2021[ INFO ]
  3. Seis dias corrientes, Neus Ballús, Spain, 2021[ INFO ]
  4. Iles, Mario Brenta & Karine de Villers, Morocco ,72’ [ INFO ]
  5. NOUS, Alice Diop, France, 2021 [ INFO ]
  6. Captains of Za’atari, Ali Al Arabi, Egypt, 2022 [ INFO ]
  7. Summer pack,  Salem Ballal, Morocco, 2022 [ INFO ]
  8. Carte postale, Asmaa El Moudir, Morocco, 2022 [ INFO ]


Jacques TRABI


<h3 style=”text-align: center;”>Réalisateur, scénariste et producteur</h3>
<p style=”text-align: center;”>Côte d’ivoire &amp; France</p>

Mohamed Laroussi


<h3 style=”text-align: center;”>Ecrivain, scénariste, et critique de cinéma</h3>
<p style=”text-align: center;”>Maroc</p>

Mohamed El Baz


<h4 style=”text-align: center;”>Artiste-peintre</h4>
<p style=”text-align: center;”>Maroc</p>

Veronica Flora


<h3 style=”text-align: center;”>Curatrice et film programmer</h3>
<p style=”text-align: center;”>Italie</p>

Mabel Lozano


<h3 style=”text-align: center;”>Actrice et réalisatrice</h3>
<p style=”text-align: center;”>Espagne</p>


Marion Stalens


<h3 style=”text-align: center;”>Réalisatrice, actrice, photographe</h3>
<p style=”text-align: center;”>France</p>



<h3 style=”text-align: center;”>Conseillère cinéma, Internet et nouveaux médias – l’Institut Français Paris</h3>
<p style=”text-align: center;”>France</p>

Javier Rebollo


<h4 style=”text-align: center;”>Cinéaste</h4>
<p style=”text-align: center;”>Espagne</p>


Fathi Kharat


<h3 style=”text-align: center;”>ancien directeur du Festival de carthage</h3>
<p style=”text-align: center;”>Tunisie</p>

Nadia Meflah


<h3 style=”text-align: center;”>Critique et scénariste</h3>
<p style=”text-align: center;”>Algérie, France</p>


Amal El Gamal


<h3 style=”text-align: center;”>Professeur des arts, scénariste et critique de cinéma</h3>
<p style=”text-align: center;”> Egypte</p>

Miguel Angel Parra


<h3 style=”text-align: center;”>Critique de cinema</h3>
<p style=”text-align: center;”>Espagne</p>

Laila Charadi


<h4 style=”text-align: center;”>Chercheur dans le domaine du cinéma</h4>
<p style=”text-align: center;”>Maroc</p>

Adil Semmar


<h3 style=”text-align: center;”>Critique de cinéma et traducteur</h3>
<p style=”text-align: center;”>Maroc</p>


The International Film Press Federation, FIPRESCI, founded in the 1920s by a handful of film journalists in Paris and Brussels and resurrected after the war, in 1946 at the Cannes festival, with its first international jury, today members in more than 60 countries around the world.
Thanks to the prestige of our prize, the number of FIPRESCI juries has grown steadily over the past decades, and we are now represented in more than 80 international film festivals each year around the world. More than a thousand films have been discovered and awarded over the last decades by our FIPRESCI juries in the most prestigious festivals such as Cannes, Berlin, Venice or Toronto, up to more fragile local events, fighting for their survival, but always with the same desire to promote and stimulate an original and personal cinema, in all its forms and diversity, considered an important element of culture and identity.

All of our award-winning films constitute an incredibly rich and
exciting world cinema, where masterpieces and iconic films from the history of cinema sit alongside the first films of filmmakers that the general public may never have heard of, and where one can find names that are “big” on one continent but completely unknown in another, always reflecting our core purpose of supporting film as an exceptional and independent art form and medium.
In addition to our regular awards given out throughout the year, we also present special awards: a “Grand Prix – Best Film of the Year”, chosen by our members; and the “Discovery Award”, for which we cooperate with the European Film Academy.
But we are also concerned about the future of our profession and
let us reflect on the challenges that film criticism faces in a world of radical technological change where the print media itself is today fighting for its survival and offering less and less space for our contributions. Thus, the way we think and work as film critics is directly challenged by the rapid transformation of media and our habits of watching films, crucial questions that we regularly address in conferences, panels and workshops.
We are grateful to the Mediterranean Film Festival of Tetouan and its president, Ahmed El Housni, for presenting a selection of outstanding films that have received our award.

  1. 200 metres, Ameen Nayfeh, Palestine, 2020 [ INFO ]
  2. Le gardien de son frère, Ferit Karahan, Turkiye/Romania, 2021 [ INFO ]
  3. Plumes, Omar Zohairy, Egypt, 2021 [ INFO ]
  4. Re granchio, Alessio Rigo de Righi, Matteo Zoppis, Italy/France/Argentina, 2021 [ INFO ]

Coup de coeur/Our favorites

27 édition, 2022

  1. L’automne des pommiers, Mohamed Moftaker, Maroc, 2020, 112’ [ INFO ]
  2. Une librairie à Paris, Sergio Castellito, Italy/France/USA, 2021, 89’ [ INFO ]
  3. Zankat Contact, Ismael El Iraki, Maroc, 2021, 120’ [ INFO ]
  4. Costa brava Lebanon, Mounia Akl, Liban, 2021, 106’ [ INFO ]
  5. 4 saisons (4 courts métrages), Imad Badi, Maroc, 2015-2020, 89’ [ INFO ]
  6. Mediterraneo, Marcel Barrena, Spain, 2021, 100’ [ INFO ]


Dans un contexte de numérisation généralisée, le langage cinéma et l’ensemble des phénomènes tels que la production, la diffusion, la réception et la critique s’avèrent pris dans une logique d’interrogations portant sur la problématique des « fins », voire parfois de la « fin du cinéma» tout court. Problématique qui a trait frontalement, entre autres, et au devenir du discours critique (Colloque1) et à celui du patrimoine (colloque 2). Nous suggérons ci-dessous des axes se déclinant successivement en autant de questions non exclusives autour desquelles pourraient s’inscrire librement les propositions de communications de nos intervenants.

SYMPOSIUM 1: Cinema in the digital age Medium, art and critical discourse

Notre objectif ici est d’inviter à penser cinéphilie, film et cinéma non confinés à un «modèle de développement» du septième art et des discours s’y référant datant d’avant l’avènement du numérique et des défis qu’il exige de relever, notamment, la disparition des salles et des conditions « classiques » de projection et, surtout, de réception critique.

<strong>NEUS BALLUS</strong> – Cinéaste et spécialiste en communication audiovisuelle
<strong>OCCITANE LACURIE</strong> – Critique et chercheuse en cinéma
<strong>MOHAMED BAKRIM</strong> – Critique du cinéma et écrivain

<strong>SAID MEZOUARI</strong> – Critique du cinéma
<strong>Krimo Chiguer</strong> – Universitaire

SYMPOSIUM 2: Cinematographic heritage in the digital age between memory and oblivion

Starting from the risks and chances of digitization, the objective here is to invite reflection on what allows the hypothesis (utopia?) of the elaboration of a meaning, if not common, at least renewed and, above all, crossed and openly hybrid of cinematographic heritage on the scale of the “cinema country” period

Léa Morin– Screenwriter and director
Narjiss Nejjar – Screenwriter and director
Khadijeh Al-Habeshneh – Film curator and researcher
Franck Loiret– Director of the Cinémathèque de Toulouse and curator (conservation and restoration of films)
Mohamed Challouf – Director and producer (conservation and restoration of films)
Naja El Achkar – Film researcher (Conservation, restoration and digitization of films)
Ahmed Mjidou – University Professor

Archival Alchemy

The photographic exhibition entitled: “Archival Alchemy” is devoted to a retrospective and partial selection relating to the key moments in the course of the Festival. Prelude to a more exhaustive work on the album of memory(s) and history(s) of an event now regional, national and continental.