Kurdistan, the Best Filming Location Nobody Knows About

H.E. Qubad Talabani, Deputy Prime Minister of the Kurdistan Regional Government and film commission president, and Kurdistan Film Commission founder and chair Bavi Yassin

Courtesy of Kurdistan Film Commission

Last year marked the premiere of the Kurdistan Film Commission (initially known as the Kurdistan Film Commission Slemani before a broadening of activities) on the global film stage at Cannes. The world’s biggest film festival marked the coming-out party for the commission of the small semi-autonomous region in northern Iraq under the office of Deputy Prime Minister H.E. Qubad Talabani, who is the president of the organization. This year, he, Bavi Yassin, founder and chair of the film commission, and her team are back at Cannes for an encore.

The mission of the commission, located in the cultural hotspot city of Slemani, is to empower Kurdish creatives through training and support, bring foreign creatives to Kurdistan and establish it as a filming destination, and to help bring the region’s stories to the world.

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Recruitment for staff, in Slemani, also known as “Suli,” and elsewhere, has been in full swing. For Cannes 2026, the team also packed some financial news. After last year signaling plans for a fund, the Kurdistan Film Fund was officially unveiled during a Wednesday event, entitled “Owning Our Story,” at the Cannes Marché. The fund is worth $2 million per year.

a Location Managers Guild International scouting trip visited Kurdistan’s Hawraman region and the local bazaar, courtesy of Kurdistan Film Commission

Courtesy of Kurdistan Film Commission

Talabani highlighted the uniting force of storytelling at the event, saying: “We want to show the world that despite political differences, despite regional tensions, or war, that cinema can cross those boundaries, that storytelling can unite where politics divides. This fund is not just an opportunity for Kurdistan. It’s a signal to the region that we see the momentum and that we want to be part of it, that we are willing to invest in the relationships, the collaborations, the partnerships that make this region stronger.”

The region has long considered itself a connector rather than a divider. “For centuries, Kurdistan has been a bridge between cultures, between civilizations, between worlds. That is our geography, that is our history,” he told the crowd. “We want to be a bridge, not a battlefield. We want to build, not destroy. We want to create an industry, an opportunity where there is currently division.”

The deputy prime minister also highlighted the importance of changing the narrative. “We have decided that today, Kurdistan stories will no longer be told by others on our behalf,” Talabani told the Cannes audience. “We will tell them ourselves, on our terms, with the depth and accuracy that only we can provide.”

And the film and creative sectors play a key role here. “They are essential parts, because how a nation tells its story determines how it is seen, how it is understood, how it attracts investment, talent and partnerships,” he said. “We are ready to be seen, to be understood, to be part of the global conversation, not as subjects, certainly not as victims of history, but as participants.”

Kurdistan Film Commission training session, courtesy of Kurdistan Film Commission

Courtesy of Kurdistan Film Commission

Yassin also emphasized the focus areas of her work. “Kurdish films have always relied on external support, without a solid system of their own. The fund changes that by placing the Kurdish narrative at the center, wherever it is told in the world,” she tells THR. “It is not only about financing films – it is about creating ownership, continuity, and visibility for Kurdish stories on an international level. At the same time, it is designed to open the door for global creators and producers to engage with Kurdish talent and stories through meaningful collaboration.”

The goal: “to create a structure that supports our narrative, while also encouraging international interest – and ultimately, to start bringing that attention back to Kurdistan itself.” Fund evaluations will center on artistic merit, but not solely. “Projects are assessed on their international co-production potential, their ability to circulate, and their relevance to the local ecosystem,” shares Yassin. “We are looking for films that can connect Kurdistan with global partners while also contributing to the industry’s development on the ground.”

Attracting film and TV productions has both cultural and econo