Lead Advocate and Goodwill Ambassador Speaks Out on Threats to Artistic Freedom
Two-time Oscar winner Cate Blanchett, in her capacity as a United Nations High Commissioner for Refugees (UNHCR) goodwill ambassador, today joined forces with the International Film Festival Rotterdam’s Hubert Bals Fund to launch the Displacement Film Fund. Blanchett warned that “when authoritarian regimes start to curtail civil liberties, they first come for great acts of culture,” invoking historical examples of censorship and iconoclasm before unveiling a €100,000 pilot grant for filmmakers affected by forced displacement.
A Global Crisis, a Cultural Response
With an estimated 122.6 million people worldwide forcibly displaced by conflict, persecution or human rights abuses—one in 67 globally—Blanchett emphasized that “forced displacement around the world is one of the greatest challenges we face as a species, yet it’s often outside the mainstream cultural conversation.” She described how, over a decade of fieldwork with UNHCR, she has witnessed refugees not merely as victims but as “architects, lawyers, doctors, plumbers”—skilled individuals whose talents and stories risk being erased.
Grant Recipients and Their Countries of Origin
The initial round of grants will support five filmmakers from Ukraine, Somalia/Austria, Syria, Iran and Afghanistan—each of whom has personal or familial experience of displacement. Their short films will premiere at IFFR 2026 and include:
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Maryna Er Gorbach (Ukraine)—Documentarian whose work chronicles the human impact of the war in eastern Ukraine.
Mo Harawe (Somalia, Austria)—Director exploring the Somali diaspora in Europe.
Hasan Kattan (Syria)—Screenwriter examining identity in post-conflict Damascus.
Mohammad Rasoulof (Iran)—Exiled filmmaker whose screenplay for an untitled short charts a family’s struggle to fulfill the burial wishes of a persecuted writer.
Shahrbanoo Sadat (Afghanistan)—Visual storyteller whose animation melds folklore with contemporary refugee experiences.
Blanchett described Rasoulof’s selection as especially poignant: “When I first heard about this fund… I felt comfort, seeing that there are people who have this care and concern for us,” the filmmaker said, recalling the harrowing moment he fled Iran lest his work be silenced.
Artistic Freedom Under Threat
Blanchett drew parallels between contemporary crackdowns and historical precedents: “The metaphorical noses are always removed from statues,” she said, referencing both literal and symbolic erasures carried out by regimes seeking to erase dissent. She cited recent actions in the United States—such as the politicization of the John F. Kennedy Center and pressure on the Smithsonian—and in the U.K., where Arts Council England’s warning against “political statements” fueled debates over artists’ right to critique government policies on Israel and Gaza.
Freemuse, the global watchdog for artistic freedom, has documented a culture of censorship, imprisonment, travel bans, defamation suits, blasphemy laws and violence against artists—threats that Blanchett urged audiences to resist. “Oppression comes in many forms, and it’s touching all our lives to greater and lesser degrees,” she said.
From Pledge to Action
The Displacement Film Fund grew from commitments made at the UN’s Global Refugee Forum eighteen months ago, where Blanchett and fellow conveners resolved to “highlight displaced perspectives” and “help them find a more mainstream audience.” By channeling resources directly to creators who have experienced forced migration, the fund aims to elevate narratives that challenge stereotypes, foster empathy and counter xenophobia.
“It’s very easy to be overwhelmed by numbers,” Blanchett admitted, “and to disconnect from the individuals behind those numbers. This fund is about reconnecting audiences to human stories.”
Mechanics of the Fund
The Hubert Bals Fund will administer annual grants of €100,000 for script development, production and post-production costs. Applicants must demonstrate displacement—either personal or through heritage—and propose projects rooted in refugee experiences. Support includes mentorship from established directors, networking at Rotterdam’s industry sessions, and distribution partnerships with global platforms.
Broader Cultural Impact
IFFR artistic director Vanja Kaludjercic praised the initiative as “a vital platform that gives displaced filmmakers not only financial support but also a seat at the table.” He argued that cinema has unparalleled power to shape perceptions: “When we see the world through another’s eyes, walls of fear and misunderstanding begin to crumble.”
Blanchett and Kaludjercic both stressed that the film fund is but the first step in a broader campaign to safeguard artistic freedom. Future plans include traveling workshops for displaced creators in refugee camps and low-income host communities, and partnerships with other major festivals such as Cannes and Toronto, ensuring that recipient films reach diverse audiences.
A Cautionary Tale for All
In closing, Blanchett reiterated her warning: “History has shown us that cultural repression is the warning sign of deepening authoritarianism. If we lose these voices, we lose our collective capacity for critique, empathy and innovation.” She appealed to filmmakers, funders and policymakers to recognize that protecting art—especially from those with the least platform—is integral to defending democratic values.
By funding storytellers whose lives embody displacement, the Displacement Film Fund seeks to transform refugees from “political footballs,” in Blanchett’s words, into cultural ambassadors whose resilience, humor and creativity expand our understanding of home, identity and human rights.
