A portrait of Sales Company ArtHood Entertainment

“When I founded ArtHood Entertainment in 2018, my goal was not only to build a traditional sales and production company but also to create a platform through which I could express my political and social perspective,” recalls CEO Said Nur Akkuş who had previously worked at Berlin-based Mitosfilm from 2011 to 2017 after graduating in International Relations in Turkey.

“For me, ArtHood is more than just a company: it is a space for films and filmmakers with a clear political and social vision,” he outlines his company’s positioning in the market, adding that “what sets us apart from many other sales agents is our clear curatorial vision: we represent films that not only demonstrate artistic excellence but also engage with urgent global issues, be it migration, identity, justice, or resistance.”

He identifies another unique aspect of the company’s strategy in that “we actively participate in shaping the international discourse through film by placing titles in the right festivals and markets, and by curating our catalogues with political and ethical consciousness.”

Each year sees the company aiming to have between five to six new titles supplementing its sales portfolio.

“Our approach varies depending on the project,” Akkuş explains. “Sometimes we come on board as early as the script stage, sometimes later. In some cases, we even help develop the project, especially when it’s produced through our sister company, ArtHood Films. In other cases, we join during post-production or after the film is completed.”

“This flexible strategy allows us to support a diverse range of films, from projects we help shape from the beginning to powerful completed works that align with our vision. Ultimately, what matters most to us is the film‘s artistic quality, political relevance, and potential to resonate internationally.”

Recent highlights from ArtHood’s line-up have included the company’s in-house production of Nader Saeivar’s THE WITNESS which began a strong international festival run after pre­miering at last year’s Venice Film Festival and has since been sold to more than 15 territories, the European premiere of Areeb Zuaiter’s debut documentary YALLA PARKOUR in the 2025 Berlinale’s Panorama section, and world premieres this year of Miwako van Weyenberg’s coming of age debut SOFT LEAVES in Rotterdam and Ensar Altay’s family drama KANTO in Shanghai.

German films have also found a home at ArtHood Entertainment for international distribution. They have included Ayşe Polat’s IN THE BLIND SPOT, which took home three Lola statuettes at the 2024 German Films Awards and has been successful both in terms of sales as well as festival invitations, Asli Özarslan’s coming of age drama ELBOW, first shown at the Berlinale’s Generation sidebar last year, Film University Babelsberg graduate Jannis Alexander Kiefer’s dark comedy ANOTHER GERMAN TANK STORY celebrated its world premiere at the 2024 Shanghai International Film Festival, and Elmar Imanov’s father-son grotesque drama THE KISS OF THE GRASSHOPPER was selected for this year’s Forum section at the Berlinale.

In fact, this year has seen the company decide to shift its focus more towards German and European films, although the Middle East will always remain an important part of ArtHood’s programme. “I believe that my background gives me a special interest in this region, but at the same time, we want to broaden our portfolio internationally and remain open to films from various countries,” Akkuş says.

“Since the pandemic, the market has become noticeably more challenging”, he notes. “Many distributors are more cautious and hesitant to take risks, especially when it comes to recouping their investments.”

“At ArtHood, we therefore believe it’s crucial to adapt to the current climate rather than resist it and so we are continuously adjusting our strategies to remain relevant and effective, and remain optimistic and committed to bringing strong, meaningful cinema to global audiences in the future,” Akkuş concludes.

Martin Blaney