In Syria videos of Assad’s soldiers mocking the Quran and the prophet were released. Pictures of destroyed mosques, torn up Qurans and the corpses of tortured religious scholars were distributed. The Arab world said nothing. However, once a film portraying the prophet in an unrealistic offensive manner was produced by an American, the Muslims were outraged. Embassies were stormed, burnt and several Americans killed. The irony in these two scenarios is very clear: The Muslims are intolerant of Western criticism, but tolerant of Arab humiliation.

The Prophet Mohammad labored and suffered greatly in his life to ensure that Islam was protected by the right people. And the protection of Islam does not mean the protection of its only messenger, but of all messengers, including Moses, Jesus, Abraham and on. It also emphasizes that all those who are oppressed are to be protected. The prophet himself once said “Feed the hungry and visit a sick person, and free the captive, if he be unjustly confined. Assist any person oppressed, whether Muslim or non-Muslim.” Why is it that the Muslims aren’t protecting their oppressed fellow Muslim brothers and sisters in Syria, or Burma? Why did they not revolt when Gaza was under siege and attacked profusely by Israel?

The prophet asked that his religion be protected; he never put himself above it. The Muslims today have embellished his position in Islam and belittled the most basic elements of Islam. They have tarnished Islam with their silence, and now damaged its peaceful and just teachings with their uprisings. Uprisings that should’ve taken place as a response to Assad’s torture. Maybe if we hadn’t kept silent over the murder of thousands, then the West wouldn’t have underestimated our power and possibly wouldn’t have released videos of the beloved prophet.

“I am delighted that, once again, European films are out in force in Cannes. This is the best reward for our efforts and shows that Europe can, by means of targeted investment, bring considerable added value to the audiovisual and culture sectors,” said Commissioner Vassiliou. “Our future ‘Creative Europe’ programme will help the European film industry to meet the challenges of digitisation and globalisation and will continue to safeguard and promote Europe’s cultural and linguistic diversity. I am delighted that professional associations in the cinema sector, including renowned directors and actors, have given their support to our future programme.”

On 20 May, Ms Vassiliou will award the 2012 ‘Prix MEDIA’ for the best European film project to the Iranian film-maker Asghar Farhadi and his French producer Memento Films Production (IP/12/353). The prize includes a grant of € 60 000 for the development of Farhadi’s new film, which will be shot in Paris and its suburbs this autumn. In the evening, Commissioner Vassiliou will ascend the famous red carpet and stairs to attend a screening of one of the European films in contention for the Palme d’Or.

On 21 May, the Commissioner and the President of the Cannes Film Festival, Gilles Jacob, will host a public debate on the ‘Creative Europe’ programme which envisages a significant increase in EU funding for film and culture. Investment in the growth-enhancing culture and creative sectors is considered essential for helping to overcome the current economic crisis because of their economic importance and potential: the sectors currently contribute up to 4.5% of the EU’s GDP and employ 8.5 million people in Europe. The European audiovisual market is alone worth more than €100 billion and provides 1.2 million highly qualified jobs in the EU.

On 22 May, the Commission will also organise an event with representatives of national and regional film funds from Member States and third countries to discuss new funding tools available to the film industry.

Over 20 years, films supported by the MEDIA programme have won 12 Palmes d’Or, 13 Grand Prix et 9 Best Director prizes at the Cannes Festival (see list below).

“A Separation” was regarded as the likely victor for the foreign language Oscar after sweeping the awards circuit in Europe and the United States. It also gathered an Oscar nomination for best original screenplay but failed to win in that category on Sunday.The film earned a rare stamp of approval from the Iranian government, describing the country’s foreign film Oscar win as a victory over Israel. The Israeli film “Footnote” about a rivalry between father-son Talmudic scholars,was also nominated  in the film category. Monday state TV broadcast in Iran said the award won by “The Separation” succeeded in “leaving behind” a film from the “Zionist regime,” a reference to the country’s arch-foe Israel.

But Farhadi, in his acceptance speech in Los Angeles, said he hoped the Oscar would raise awareness of Iran’s artistic achievements and rich culture that has been “hidden under the heavy dust of politics, “ as Tensions between the West and Iran have risen in recent months over Tehran’s nuclear program. Iran denies Western claims that it seeks to develop atomic weapons, and says its disputed nuclear program is intended to produce energy and medical isotopes.