On November 28, 2025, the Marrakech International Film FestivalMarrakech will kick off its 22nd edition with Gus Van Sant’s Dead Man’s Wire as the opening night film—at the Palais des Congrès in the heart of Morocco’s red city. The festival, running through December 6, will showcase 82 films from across the globe, blending Hollywood prestige with bold regional voices. It’s not just another film festival. It’s a cultural heartbeat for North Africa, a rare platform where Moroccan directors sit side-by-side with Oscar winners, and where a love triangle in a palm-shaded villa can draw as much attention as a reimagined Frankenstein.
A Festival Rooted in Royalty
Founded in July 2002 by His Majesty King Mohammed VI of Morocco, the Marrakech International Film Festival Foundation operates as a public-interest nonprofit, presided over by His Royal Highness Prince Moulay Rachid. Unlike many festivals born from industry lobbying, this one was conceived as a national project—to elevate Moroccan cinema, attract global talent, and position Marrakech as a cultural capital. The result? A festival that draws over 100,000 attendees annually, with red carpets unfurling under desert stars and screenings held in ancient medina courtyards.
The Lineup: From Del Toro to First-Time Directors
The 2025 selection is a masterclass in contrast. At one end: Guillermo del Toro and Mark Gustafson’s stop-motion Guillermo del Toro’s Pinocchio—already a critical darling—returns in a special presentation. At the other: Meryem Benm’Barek’s Behind The Palm Trees, a Moroccan-French co-production about desire and displacement, set for its world premiere. Benm’Barek, who won Best Actress at Cannes in 2019 for Sofia, returns with a story that feels both intimate and politically charged—a French expat’s affair with a local man unravels in the quiet luxury of a Marrakech villa. It’s the kind of film the festival was built to champion.
Other highlights include Chloé Zhao’s Hamnet, a literary adaptation of Shakespeare’s son, and Rebecca Zlotowski’s A Private Life, a quiet French drama about grief and memory. The festival also debuts James J. Robinson’s First Light, an Australia-Philippines co-production about a nun grappling with faith after a fatal accident. And then there’s Frankenstein—yes, Guillermo del Toro’s version—reimagined as a gothic horror with emotional depth, not just spectacle.
Spotlight on the Arab and African Screen
What sets Marrakech apart isn’t just the star power—it’s the unwavering commitment to voices often overlooked. Marwan Hamed’s El Sett will have its world premiere, a psychological thriller set in Cairo’s underbelly. Kamal Aljafari’s With Hasan in Gaza offers a haunting portrait of resilience in war-torn Palestine. And Shadi Abdel Salam’s 1969 classic The Mummy – The Night of Counting the Years will be screened in a restored print, reminding audiences that this festival honors legacy as much as innovation.
Of the 82 films, nearly 40 come from Africa or the Arab world. The festival’s First and Second Feature Competition section—where Behind The Palm Trees competes—is where the future of cinema is being written. Last year’s winner, The Baronesses by Nabil Ben Yadir and Mokhtaria Badaoui, went on to screen at Rotterdam and Toronto. This year’s crop looks just as strong.
Why This Matters Beyond the Red Carpet
While Hollywood studios send PR teams to Cannes and Venice, few bother with Marrakech. That’s changing. With streaming platforms increasingly hungry for non-English content, and with Morocco’s film incentives drawing international productions, the festival has become a marketplace as much as a celebration. In 2024, over $12 million in co-production deals were signed during the event. This year, expect more.
And then there’s the weather. Late November in Marrakech means 15°C days, golden light, and palm trees rustling as crowds spill out of theaters into the Jemaa el-Fnaa square. It’s not just a film festival—it’s an experience. You smell saffron and mint tea. You hear the call to prayer over the soundtrack of a Palestinian documentary. You see a 19-year-old filmmaker from Tangier meet a producer from Berlin, and suddenly, a new story is born.
What’s Next?
The 2025 festival closes with Annemarie Jacir’s Palestine 36, a powerful, poetic meditation on memory and loss. The choice isn’t accidental. It’s a statement. The festival’s programming, under the guidance of its foundation, continues to reflect the region’s complex realities—not as exotic backdrop, but as central narrative.
Next year’s edition, already rumored to include a retrospective on Egyptian cinema’s golden age, will likely build on this momentum. With Morocco investing in new film studios in Casablanca and Rabat, and with the government recently approving tax breaks for international shoots, the festival isn’t just reflecting change—it’s accelerating it.
Frequently Asked Questions
How does the Marrakech Film Festival support emerging filmmakers?
The festival dedicates nearly half its competition slots to first and second feature films, offering cash prizes, international distribution support, and direct access to producers. Last year, 12 of the 15 competition films secured distribution deals within six months. Meryem Benm’Barek’s Behind The Palm Trees is already generating buzz for its potential global release.
Why is 'Dead Man’s Wire' chosen as the opening film?
Gus Van Sant’s film—a tense, character-driven thriller about a man confronting his past—mirrors the festival’s ethos: emotional depth over spectacle. It signals that Marrakech values storytelling craft as much as star power. Van Sant, known for his humanist approach, is also a longtime advocate for independent cinema, making him a symbolic fit.
What role does the Moroccan royal family play in the festival?
King Mohammed VI founded the festival to elevate Morocco’s cultural standing globally. His son, Prince Moulay Rachid, chairs the foundation and personally approves the opening and closing films. Their involvement ensures stable funding and political backing, but the programming remains artistically independent, with curators selected from international film circles.
Are non-Arabic films welcome at the festival?
Absolutely. The 2025 lineup includes films from 15 countries, including the U.S., Australia, Germany, and Iceland. While the festival highlights Arab and African cinema, it’s designed as a global dialogue. Last year, a German documentary won the top prize, and a Mexican short film drew standing ovations. Language is never a barrier—subtitles are universal here.
How does the festival impact Morocco’s tourism and economy?
The festival injects an estimated $45 million annually into Marrakech’s economy, from hotel bookings to local crafts and restaurants. International media coverage reaches over 300 million viewers. The government now promotes Marrakech as a year-round film destination, with studios like Netflix and Amazon filming here regularly. It’s culture as economic engine.
Is the festival accessible to the public, or just industry insiders?
Over 80% of screenings are open to the public at affordable prices—often under $5. Locals line up hours early. Many screenings are held outdoors in the medina, with free seating. The festival doesn’t just showcase films—it makes cinema part of everyday life in Marrakech. That’s rare anywhere in the world.