The jury, headed by Bosnian Oscar-winner Danis Tanovic, awarded the main Golden Pyramid prize to Romanian director Bogdan Muresanu’s The Year That Never Came, a dark comedy about the dying days of Soviet Communism, which has acquired an extra air of grim relevance in the age of Putin. Other main prizes went to an impressively global spread of films form Turkey, China, Italy, Brazil, Russia and beyond. But this was mostly a banner year for local and regional films from Africa, the Middle East and Egypt itself.

Taking home four prizes was the only Egyptian film in the main competition, Noha Adel’s Spring Came Laughing, a boisterous and emotionally rich anthology of female-driven stories set in Cairo. But a bolder statement was Bassam Mortada’s triple prize-winner Abo Zaabal 89, a personal odyssey about the lingering scars of political activism in contemporary Egypt. Drawing on the imprisonment of the director’s own father, among others, Mortdada’s investigation of trauma and torture in Egyptian prisons during the 1980s must have been a difficult entry into this year’s line-up, with back and forth discussions between the festival and the censorship committee. Tellingly, the film was only included in the very last days before opening.

Eight years after Tamer El Said’s highly sensitive ode to Cairo, In the Last Days of the City, was mysteriously dropped from the CIFF competition, Abo Zaabal 89 marks a significant development for the festival’s programming team and new artistic director Essam Zakaria, who reportedly had similar tensions with the censorship committee when he headed the Ismailia Film Festival for short films and documentaries. This win is important, especially as last month El Gouna festival dropped the opening short film, Abdelwahab Shawky’s The Last Miracle, amid reports it had not been cleared by censors. Mortada dedicated his award to this film and all Egyptian film-makers.

Palestine was inevitably a major theme at CIFF this year. With the Gaza conflict ongoing, the organizers elected to take a more outspoken cultural stand after last year’s cancellation. This was evident even before opening night, as festival president Hussein Fahmy confirmed the event will not be sponsored by companies on the popular boycotted list over their alleged support for Israel. In a press release, Fahmy said: “we took a firm position by boycotting any companies or entities on the boycott list, reaffirming our unwavering commitment to the Palestinian cause. This commitment remains central to our festival, and no challenge will change that.”

This sentiment was also reflected in the film program, which included many productions and stores from Palestine and Gaza. The opening film was Passing Dreams by Palestinian director Rashid Masharawi, which also competed in the international competition, reinforcing this theme of solidarity. With two juries focussed on Palestinian cinema, the festival also awarded multiple prizes to State of Passion by Carol Mansour and Muna Khalid, an intensely moving documentary about British-Palestinian doctor Ghassan Abu-Sittah, a courageous war surgeon who has worked extensively in Gaza. A special prize was also awarded to Abu-Sittah himself.

Among guests, press and general ticket-buyers, the festival’s box office remains the biggest source of complaints, with long lines, broken servers and other obstacles. A minor yet crucial issue that should be on the agenda for Fahmy and Zakaria, after their contract gets renewed by the Ministry of Culture, is regulating invitations for the premieres of Egyptians films, which were often impossible to attend after production companies bought bulk orders of tickets for film crew, families, friends and celebrities. Tension over people trying get into these overcrowded Egyptian premieres was witnessed by The Film Verdict.

The Cairo Classics program was of the most successful sections this year, hosting several sold-out screenings of vintage Egyptian films that are known by heart to many of the audience, but this was still a rare chance to see them in newly restored versions. For various reasons, much of Egypt’s rich cinematic heritage – the oldest in the region and on the continent, and one of the oldest in the world – has been lost, privatized, or sold off to different entities, both foreign and local. Access to popular beloved films had become increasingly difficult, and online copies are often of poor quality, so this festival-led restoration wave is very promising.

Also welcome were signs of the festival becoming more inclusive and diverse this year. Cairo Industry Days (CID) emphasized a desire to open the platform to all film-makers, from art-house creators to commercial and blockbuster producers. A key collaboration was with the Egyptian Chamber of Cinema, representing local film-making companies. Many members were initially surprised by the invitation, as the festival has traditionally focused on a niche audience. This year’s approach could be a healthy step towards broader participation.

The Film Verdict also attended several screenings outside the Opera House complex, where the majority of the festival is based: in VOX cinemas, both in big shopping malls on 6th of October City (Southwest of Cairo) and Nasr City (East Cairo), as well as Zamalek Cinema and the American University in Cairo, both in Downtown. The VOX crowd obviously included festival guests but also typical mall-goers who typically see Hollywood blockbuster films. This marks a much-needed demographic expansion beyond the gated walls of the Opera House, as a large proportion of the Egyptian population continue to mistakenly think film festivals are exclusive invite-only red carpet events. More of this city-wide inclusion would be very welcome in future.

The youthful demographic was also a striking feature in Cairo this year. Walking into the Opera House during the box office rush before noon, it was impossible to miss the high number of young audience members chatting about favorite films, attending short film marathons, and even posing with festival posters. This is a very positive sign that Cairo is broadening its appeal to many more young cinephiles, future film-makers, and (yes) even critics.

Any resemblance between Anywhere Anytime and previous Italian film classics is wholly intentional, because Tangshir is paying overt and knowing homage here to Vittorio De Sica’s beloved neorealist milestone Bicycle Thieves (1948), which also featured an impoverished anti-hero searching for his stolen bicycle in the harsh economic landscape of post-World War II Rome. But this is not a remake, nor even a reverential homage, more like a fruitful dialogue between the two films filtered through a 21st century lens. While the plot contains many echoes of De Sica, the socio-political context and final act are both very different. We might even call this neo-neorealism.

The protagonist here is Issa (Ibrahima Sambou), an undocumented Senegalese immigrant working as a fast-food courier in Turin, part of the huge pedal-powered shadow workforce that has become a striking feature of the new “gig economy” in every city across the world over the last decade. Fluent in Italian after six years in Italy, Issa lives in austere dormitory accommodation provided by a charity, alongside other exiles, refugees and economic migrants. Among his small circle of Senegalese friends is aspiring singer Awa (the splendidly named Success Edemakhiota), with whom he shares a sweetly flirtatious chemistry, and the kindly Mario (Moussa Dicko Diango), who plays a kind of big brother role to Issa.

When Issa finds it increasingly hard to find steady work due to his illegal status, Mario proves to be his saviour by offering to share his occasional job as a bicycle courier for a food delivery company called Anywhere Anytime. This means Issa will have to impersonate his friend, but as Mario assures him, their mostly white Italian customers will treat two semi-invisible black menial workers as interchangeable. And so it proves, with Issa successfully impersonating Mario as he zips around the city delivering fast food.

But this hopeful plan soon turns to disaster when a stranger steals Issa’s bike in the middle of a delivery. Unable to call the police due to his illegal status, and too poor to replace the second-hand bicycle he could barely afford the first time, he spends a fraught weekend desperately searching for his bike and the thief who took it. His frantic urban odyssey brings him into contact with a colourful cast of characters, from a kindly Christian grandmother to knife-wielding racist thugs who threaten him with lethal violence and racial slurs. These men are repulsive, but Tangshir makes sure to show us their slum residence, a bleak situation almost as hopeless and marginalised as Issa’s. The tragedy at the heart of this film is the poor stealing from the poor.

The amateur cast are well chosen. Sambou is a handsome and engaging screen presence, and Tangshir takes pains not to paint Issa as a saintly victim, Even so, he still comes across as a little too sweet and bland. In the film’s closing act, he is finally driven to crime himself, triggering a series of terrible consequences. But this sudden escalation feels too rushed to make the emotional impact it should, and Anywhere Anytime leaves a few too many threads dangling. More dimension to both plot and character might have elevated this solidly crafted social drama from good to great.

On an aesthetic level, Anywhere Anytime is fairly conventional but pleasingly polished. With a bright colour palette and generous use of free-flowing tracking shots, Tangshir and his cinematographer Giuseppe Maio give most scenes a crisp, colourful, sun-bronzed look that makes even the most grungy corners of Turin appear deceptively idyllic. Another key pleasure is a prominently deployed soundtrack of vintage Afro-Cuban jazz, mostly from the late 1960s and 1970s, chosen by the director partly because it captures Africa’s post-colonial boom period of growing cultural confidence. The legendary godfather of Ethopian jazz, Mulatu Atstatke, features among this richly flavoured mixtape.

Director: Milad Tangshir
Screenwriters: Giaime Alonge, Daniele Gaglianone, Milad Tangshir
Cast: Ibrahima Sambou, Moussa Dicko Diango, Success Edemakhiota
Cinematography: Giuseppe Maio
Editing: Enrico Giocannone
Producer: Marta Donzelli, Gregorio Paonessa, Carla Altieri, Roberto De Paolis
Peoduiction companies: Vivo Film (Italy), Young Films (Italy), Rai Cinema (Italy)
World sales: Fandango
Venue: Cairo International Film Festival (Official Selection Out of Competition)
In Italian, Wolof
82 minutes

Silver Pyramid Special Jury Award, for Best Director
“Postmarks” (Russia)
Director: Natalia Nazarova

Bronze Pyramid Award For Best First or Second work of a Director
“Malu” (Brazil)
Director: Pedro Friere

Naguib Mahfouz Award For Best Screenplay
“Vittoria” (Italy)
Directors, screenplay: Alessandro Cassigoli, Casey Kauffman

Best Actor Award
Lee Kang Sheng for “Blue Sun Palace” (US)
Director: Constance Tsang

Best Actor Award
Maxim Stoyanov for “Postmarks” (Russia)
Director: Natalia Nazarova

Best Actress Award (Special Mention)
Alina Khojevanova for “Postmarks” (Russia)
Director: Natalia Nazarova

Best Actress Award
Yara de Novaes for “Malu” (Brazil)
Director: Pedro Freire

Henry Barakat Award For Best Artistic Contribution
“Ayse” (Türkiye)
Director: Necmi Sancak

Henry Barakat Award For Best Artistic Contribution
“Spring Came Laughing” (Egypt)
Director: Noha Adel

The International Critics Prize (FIPRESCI)
“Spring Came Laughing” (Egypt)
Director: Noha Adel

Saad Eldin Wahba Award for Best Arabic Film
“A State of Passion” (Palestine, Jordan, Lebanon, United Kingdom, Kuwait)
Producers: Carol Mansour, Muna Khalidi

Salah Abu Seif Award for Best Director
“Spring Came Laughing” (Egypt)
Director: Noha Adel

Youssef Sherif Rezkallah Award for Best Screenwriter
“Arzé” (Lebanon, Egypt, Saudi Arabia)
Director: Mira Shaib / Script: Louay Khraish, Faissal Sam Shai

Best Actor Award
Mohamed Khouyi in “The Blue Lake” (Morocco)
Director: Daoud Aoulad-Syad

Best Actress Award
Diamond Bou Abboud for “Arzé” (Lebanon, Egypt, Saudi Arabia)
Director: Mira Shaib

Actress Special Mention
Rehab Anan for “Spring Came Laughing” (Egypt)
Director: Noha Adel

Shadi Abdelsalam Award for Best Film
“Wild Diamond” (France)
Director Agathe Riedinger

Fathy Farag Award (Special Jury Award)
“Simon of the Mountain” (Argentina)
Director: Federico Luis

Special Mention
“Abu Zaabal 89” (Egypt)
Director: Bassam Mortada

Youssef Chahine Award for Best Short Film
“David” (China)
Directors: Kai Xue, Hong Jiexi

The Special Jury Award
“The Last Dismissal” (Saudi Arabia, Egypt)
Director: Jowaher Alamri

Special Mention
“The Mother and the Bear” (Egypt)
Director: Yasmina El Kamaly

45th Cairo International Film Festival African Feature Award
“Dahomey” (France, Senegal, Benin)
Director: Mati Diop

Special Jury Prize
“Abu Zaabal 89” (Egypt)
Director: Bassam Mortada

45th Cairo International Film Festival Network for the Promotion of Asia Pacific Cinema Award
“Brief History of a Family” (China, France, Denmark, Qatar)
Director: Lin Jianjie

Broadcasting & Television Union of Organizations of Islamic Cooperation Award Presented to the top Palestinian documentaries or short films
“Square Kilometer Dreams” (Palestine)
Director: Qassam Sbeih

Second Prize
“A State of Passion” (Palestine, Jordan, Lebanon, United Kingdom, Kuwait)
Producers: Carol Mansour, Muna Khalidi

Third Prize
“Passing Dreams” (Palestine, Sweden, Saudi Arabia, France)
Director: Rashid Masharawi

Special Mention
“The Deer’s Tooth” (Palestine)
Director: Saif Hammash

The film’s strong point is its dramatization of out-of-control situations through rapid-fire, non-stop dialogue, putting Adel’s considerable powers as a screenwriter to the fore. The camera appears to have one job only: to capture the emotions of the women onscreen, and there is little esthetic deviation from filming their faces. Also rather unique is the mood of the film, which is generally angry, thanks to one bad apple at every gathering who feels compelled provoke the others and cause trouble, setting off rising tensions that always seem on the verge of bursting into comedy – yet they rarely do.

Given the theatrical-style dramatics, which entail an ensemble cast out-talking and out-shouting each other in overlapping dialogue, it is surprising to learn that the excellent actors are all non-pros. They convey extreme emotions with extraordinary naturalness and are the icing on the cake of this unconventional, rule-breaking first film.

The only constants of the four tales are cats and flowery foliage that form a sort of reappearing motif and story break. The first episode, called simply “June”, begins mid-stream with 60-ish Salma (Sally Abdo), a widow living with her divorced daughter Reem and her grandkids in a lovely garden apartment, welcoming into her home Mokhtar and his 70-ish father Shady, who also lives in the building. They have found and brought back Reem’s lost cat and Reem has stayed home to thank them. Suddenly Mokhtar blurts out that the real reason they’ve come is to propose that Salma marry his father. This strikes Reem as preposterous, and in the uproar that follows, terrible things are said in the most hurtful ways possible. With the revelation that Reem was seeing Mokhtar, a married man, in Dubai, and the discovery that she has been looking into old age homes to plant her mother so she can sell the apartment, all hell breaks loose. Only Shady and Salma retain some mote of dignity

Next comes “May”, perhaps the most delirious episode. It is set in a trendy restaurant where the well-preserved Zazu (Rahab Anan) is having a birthday lunch with her girlfriends. Across the table sits the catty, ill-intentioned Wessam, who “innocently” asks Zazu how it feels to turn 50. This sets off remarks on white hair and Botox, and the “silicon butt” of the restaurant manager. But the real fuse is lit when Wessem hints that she knows of a woman, whose shall remain nameless, whose husband married a Syrian woman as his second wife without consulting her. Zazu looks increasingly uncomfortable. The explosion of vulgarities that follows is less funny than excruciatingly painful to watch, not only because of the scandal the racy language creates in the restaurant, but because Zazu is so obviously a soul in torment.

“April” takes place in the close confines of a hairdresser’s salon frequented by middle-class ladies. Whereas earlier the camera flitted back and forth on the faces lined up around the table, here the lighting is bright and the lens swivels around the room from the hairdressers to their upscale clients. The sultry Mrs. Mayada (Roka Yasser) is giving everybody a hard time with her royal ways and absurd demands. She turns into a screaming shrew when she thinks her multi-diamond ring has been stolen, then she locks the door and insists everyone be searched. The class divide is a background issue in every story, but here it takes center stage, with Mrs. Mayada distinguishing between “decent women” (the wealthy clients) and the dirty thieving class of working women (the hairdressers).

Finally in “March” the understated hypocrisy of middle-class relationships explodes into the open. Lili (Carol Ackad) is getting married. Surrounded by a makeup artist, a photographer and a bevy of chattering bridesmaids, she is in ecstasy – until her mother starts criticizing her for choosing the curly-haired Kawthar as a bridesmaid, despite the fact she is divorced. The argument ebbs and flows until it spirals into tears and hysterics, and Lili makes a final, terrible revelation to a compassionate stranger.

And yet the film is filled with much laughter and fun and lots of singing. Much conversation revolves around the infectious traditional songs everybody seems to know by heart, and there is a sense that in matters of the heart, the great old Egyptian singers have been there before.

All the technical work is simple but pleasurable, but the standout credit is Ahmed Aboulsaad’s rather dazzling sound mix of women’s voices talking all at once.

Director, screenplay: Noha Adel
Producers: Kawthar Younis, Ahmed Youssef
Coproducer: Laura Nikolov
Cast: Sally Abdo Mokhtar Younis, Shady Hakim, Rahab Anan, Wessam Salah, Reem El-Aqqad, Roka Yasser, Carol Ackad, Mona Elnamoury, Kawthar Younis
Cinematography: Sara Yehia
Art direction: Salma Taimour
Costume design: Moushira El Fahham
Editing: Sara Abd Allah
Sound design and mix: Ahmed Aboulsaad
Production company: Kayak Films
Venue: Cairo International Film Festival International Competition)
In Arabic
98 minutes

The award was presented in Cairo on Nov. 20 by Helen Hoehne, president of the Golden Globes. “We are honored to present the Omar Sharif Award, celebrating outstanding achievements in Arab cinema and paying tribute of Omar’s remarkable legacy as a pioneering Egyptian artist,” she said.

The prize celebrates the contributions of creative people throughout the Middle East and North Africa. Sharif, the legendary star of Lawrence of Arabia and Doctor Zhivago, won three Golden Globes during his long career in film. It is particularly appropriate that Yousra and Fahmy shared this award, as they co-starred in Youssef Chahine’s famous film about filmmaking, Alexandria: Again and Forever (1989).

Yousra’s career in film, TV and music spans decades and began with her early work for filmmaker Youssef Chahine. “I have been fortunate to have worked with so many talented directors and craftsmen who have built the Middle East into an incredible center of filmmaking,” said the actress, who noted she had been a close friend of Omar Sharif. She has also served as honorary president of the Cairo Film Festival, she is on the advisory board of the El Gouna Film Festival, and she is a jury member at the Academy of Motion Picture Arts & Sciences.

Hussein Fahmy is a leader of the Egyptian film industry. Having starred in over 100 films, television and theater productions over his long career, he is now on his seventh year as president of the Cairo International Film Festival. His work on humanitarian causes  includes having served as a United Nations Development Program Goodwill Ambassador for the Arab states.

“The Omar Sharif Award from the Golden Globes is truly one that I will forever cherish,” he said. “It is not only a recognition of one man’s career, but also the growth and importance of Egypt and the rest of the Middle East and Africa as a premier filmmaking region.”

In fairness, Sancak and his fine cast keep viewers engaged with fiercely committed performances, harrowing thriller-like plot twists, and an unsentimental empathy for marginalised outsiders that John Steinbeck would recognise. Ayse world premiered at Anatolia Film Festival last month, where it won four of the main prizes, and makes its international debut in Cairo this week.

The film’s 47-year-old heroine Ayse (Binnur Kaya) lives on the rural fringes of Istanbul, in a poor village where the city’s creeping gentrification is gradually colonising the landscape. By day, she works a poorly paid job as a petrol station attendant. The rest of the time, she is sole carer to her disabled brother Ridvan (Ridvan Sancak), who has Down Syndrome and appears to be severely autistic. With her father dying in hospital, Ayse has dwindling family connections, very little money, no time for a life partner, and no reliable safety net of supportive friends. She is also a nervy chain-smoker with a cigarette or vape constantly jammed to her lips, which may help explain the film’s yellowing, grimy, tobacco-stained colour palette.

Although Ayse badly needs help, most of the people in her orbit make one-way demands on her. Her callow young co-worker Sinan (Orkuncan Izan) and his self-absorbed fiancee Zehra (Nazlican Demir) pressure her to play an official role at their upcoming wedding, using emotional blackmail when she seems wary due to Ridvan’s high needs. Shy truck driver Recep (Ali Seçkiner Alici) clumsily attempts to flirt with her, bringing her gifts from his regular road trips to Bulgaria, and sharing the melancholy confession that he has never been in love. But Ayse politely deflects his advances, possibly because she feels no attraction, but equally likely because she fears caring for her brother will scupper any romantic happy ending.

Kaya, who also co-wrote the screenplay, gives a compellingly intense performance as Ayse. Front and centre for almost every scene, usually in unforgiving close-up, her highly expressive face radiates thinly veiled desperation even in long, free-wheeling, often wordless takes. Drained and haunted, she looks like a live-action recreation of Edvard Munch’s The Scream. In the twist-heavy final act, with her nerves at breaking point, she starts to weigh up extreme solutions that nudge the film in a more tragic direction. No spoilers, but it is a testament to Kaya’s acting prowess that she maintains a degree of audience empathy at all times.

Ayse is a personal passion project for Sancak, who based elements of the story on his own family. Ridvan is played by his real cousin, while the title character is based on another cousin, Ridvan’s sister Fatma, who earns a dedication at the end of the film. At his Cairo premiere, the director was keen not to draw any deeper parallels, insisting the screenplay is a purely fictional speculation about how this kind of stressed sibling duo might react under different circumstances, with no support network and no access to specialist care. The real Ridvan, Sancak assured the festival audience, is a cheerful soul who took to his new acting hobby with relish. Which is welcome hint of consoling sweetness after such a bracingly bitter film.

Director: Necmi Sancak
Screenplay: Necmi Sancak, Binnur Kaya, Ahmet Sancak
Cast: Binnur Kaya, Ridvan Sancak, Nazlican Demir, Ali Seçkiner Alici
Cinematography: Meryem Yavuz
Editing: Osman Bayraktaroglu
Producers: Ahmet Sancak, Necmi Sancak
Venue: Cairo International Film Festival (International Competition)
In Turkish
76 minutes

In addition to a jury dedicated to African cinema, a panel on African Representation in Cinema drew much interest as part of Cairo Industry Days. Moderated by Variety writer and critic John Bleasdale, it featured award-winning director and producer Amjad Abu Alala, South African project coordinator of the Durban FilmMart Institute Faiza Williams, and Franco-Burkinabè producer, critic, and film consultant Claire Diao from Africa No Filter.

Diao noted that both international and some Arab audiences have a tendency to perceive Africa through negative stereotypes. She highlighted Africa No Filter’s efforts to reshape these narratives by providing two types of funding: US $5,000 for short films and $10,000 for feature-length projects. Africa No Filter is an organization committed to amplifying authentic, diverse African stories while challenging outdated perceptions. Through grants, research, and advocacy, it supports creators showcasing the continent’s cultural richness and innovation.

Diao emphasized that projects are selected based on positive representations. She recounted her experience growing up in Europe, where NGO campaigns frequently portrayed Africa through images of poverty, such as malnourished children. When she worked on a project featuring African characters using phones and speaking Portuguese, audiences were surprised, a reaction that reflects deeply ingrained stereotypes.

She also revealed plans for Africa No Filter to expand its support for filmmakers, increase funding, and introduce a program on distribution for African professionals.

Faiza Williams stressed the importance of fostering a new generation of African mentors to guide filmmakers in avoiding harmful stereotypes. She introduced the Future Mentors Programme, a Durban FilmMart Institute initiative aimed at addressing the shortage of mentors from Africa and its diaspora. The program seeks experienced film professionals who want to mentor aspiring filmmakers.

The Durban FilmMart, hosted at the Durban Film Festival, connects African filmmakers with global industry professionals, facilitating co-productions, funding, and creative collaboration. It provides a space for project pitches, workshops, and networking sessions, contributing to the growth of African cinema.

She also mentioned the DMF Business Lab, a 14-week program designed to equip emerging producers with financial, legal, and accounting knowledge to ensure sustainable filmmaking practices.

Amjad Abu Alala discussed challenges his films faced, such as the lack of recognition for Africa’s diversity, including Arab Africans and speakers of English, French, and Portuguese. He noted that international funding entities often expected film posters to depict poverty. As the producer of Goodbye Julia — a Sudanese drama exploring guilt and reconciliation — he shared how the film overcame such biases, earning accolades like the Freedom Award at Cannes’ Un Certain Regard in 2023, and Best Film at the El Gouna Film Festival.

While Diao stressed the need for African voices on film selection committees to promote diverse representation and discourage films that reinforce stereotypes, Williams expressed optimism, citing the success of Durban alumni whose projects have gained international recognition. She referenced Seeking Haven for Mr. Rambo, which participated in Durban’s development program in 2020 and later screened in Venice, Cairo, and the Red Sea Film Festival.

The topic of training skilled professionals came up more than once. Abu Alala called for more opportunities for Sudanese and African students in filmmaking institutions in Egypt and France. He identified the lack of technical training in Sudan as a major obstacle to developing skilled professionals such as cinematographers and sound engineers, and recommended apprenticeship models, like the one used in Goodbye Julia, where Sudanese film students shadowed professionals to gain hands-on experience.

Touching on the bottom line, Diao highlighted the practical challenges African filmmakers face, such as high intercontinental travel costs. She noted that flying someone from Europe to Africa is often cheaper than traveling between African countries. Panelists also highlighted the challenges posed by European funding, which often requires a significant portion of the crew to come from the funding country. Abu Alala overcame this in his first film by hiring Arab professionals with French passports to align with his vision.

Overall, the panelists emphasized how African filmmakers must challenge the systems that restrict them. Whether by forming regional alliances, exploring untapped narratives, or expanding collaboration with other creative sectors, the potential of African cinema lies in its ability to redefine global perspectives. This effort, they argued, starts with acknowledging and celebrating Africa’s diversity, both in its stories and the people who tell them.

Laying with his head against the stomach of his mother (Mona Hala), who is expecting her second child, Mickey (Shams Hegab) insistently speaks to his unborn sister as if she is his deceased granny. It’s an odd behaviour that feels initially uncomfortable but begins to take on even more sinister connotations as he becomes increasingly insistent and erratic and his relationship with his mother is stretched to breaking point. Teta repeatedly hints at the supernatural, but it is the claustrophobic mundanity of the scenario that makes it so perturbing.

The action takes place over the course of a couple of days and never leaves the confines of their relatively small apartment. Mickey is often depicted clutching on to his mother’s bulging stomach, listening as if the spirit of his grandmother is pouring poison in his ear. Samir and his cinematographer Nohad Nour emphasise the restricted space of their home, so that even when Mickey is not physically within touching distance, his presence – or perhaps, even, the presence of his grandmother – is continuously felt. The pair are often framed in tight spaces; navigating the narrow hallway or captured through the off-kilter frame of the kitchen doorway.

Hala’s mother is also heavily pregnant which heightens the sense of her difficulty in moving around and, thus, her own vulnerability. Hala performs the role expertly, balancing a rational frustration with her irrational son with her own underlying anger and her grief at no longer having her mother there for support. The grandmother’s old rocking chair sits in the corner of the bedroom, only ostensibly unoccupied. Hegab also performs his role well, developing into a progressively menacing presence until his mother must decide if her resistance to his supposed otherworldly connection is causing more harm than good – and if accepting her mother’s return would be advisable. The result is a tightly constructed chiller, whose ambiguity makes it feel all the more threatening.

Director, screenplay editing: Ahmed Samir
Cast: Mona Hala, Shams Hegab
Producers: Ahmed Samir, Saad Hendawy, Mona Hala, Nohad Nour
Cinematography: Nohad Nour
Sound: Ramiro Diego
Music: Andre Matthias
Production design: Bassem Hany, Fatima Sameh
Makeup: Eman Ahmed
Production Company: I Am A Film (Egypt)
Venue: Cairo International Film Festival (Panorama of Egyptian Short Films)
In Arabic
23 minutes

Festival director Essam Zakaria opened the ceremony saying that the goal in the 45th edition was to collaborate with several international press representatives, and The Film Verdict, with its commitment to supporting cinema, was an essential choice.

“These awards aim to support the festival’s mission of discovering emerging young filmmakers, in collaboration with The Film Verdict”, Zakaria added.

The Film Verdict chief critic and editor Deborah Young addressed the importance of the awards in celebrating exceptional contributions to the world of filmmaking in the constantly changing Middle East and North Africa. The awards were given to three emerging talent and an established film professional.

This year’s honorees were Egyptian director Hani Khalifa, Saudi film critic and journalist Ahmed Al-Ayyad, Egyptian director and screenwriter Noha Adel, and Jordanian actress Rakeen Saad. A panel discussion moderated by Deborah Young explored how emerging and established filmmakers can collaborate, inspire, and strengthen the bridge between generations in the film industry.

Director Hani Khalifa, whose film Flight 404 starring Mona Zaki is Egypt’s bid for the 2024 Oscars, started the discussion asserting that the best way for a director to learn filmmaking is the way that works best for them. “With today’s technology, anyone with a mobile phone can present their ideas and showcase unique perspectives. There’s no fixed formula or guidebook for becoming a filmmaker.”

He added that he had a traditional filmmaking education. “Back then, we understood that cinema came first, and then art theory followed. In those days, we worked under specific constraints, like the rules or dogma, and we had to wait to see the results. It was a completely different world. There were secret techniques — we learned how to read light on faces, so we could see its effect on the screen. These technicalities had a kind of magic, though they also had their pros and cons.”

Today, students have more access and are more involved in the filmmaking process, Khalifa added. “Interestingly, it’s now us, the older generation, learning from the younger one. They are courageous in reflecting on their problems, and this enriches and inspires us.”

“Our world today is highly materialistic and capitalized, but the freshest ideas come from these young minds,” he added.

On the other hand, director Noha Adel, whose film Spring Came Laughing is competing in the official competition of the Cairo festival, said that her first feature film was a trial and a new experience for her. “ I had never seen a director on set before, so I just did what felt right. I worked with non-actors who didn’t know that I didn’t know the basics. Everything I did on set was spontaneous. My focus was on telling the story and planning the shoot so we could finish the day.”

Jordanian actress Rakeen Saad, the female lead in Seeking Haven for Mr. Rambo, screened at the recent Venice Film Festival, shared her experience on acting. Having academically learned acting and attended film school as well as several workshops, she expressed that she felt “like I exist in a different world when I am on set. I wanted to be on location, observing how the set was running. That process became a part of me—it’s where the entertainment lies. I’m always learning.”

On her beginnings, Saad said that “I remember being told to stand on the mark, which seemed like such a small detail, but I couldn’t get it right. Over time, I learned to do it naturally without even thinking about it. The process all ultimately comes down to the director’s vision. Even now, I am still learning, refining my approach, and finding new ways to grow in this journey.”

Saudi film critic Ahmed Al-Ayyad, one of the most active Arab critics through his contributions to various news media, commented on the Saudi industry, explaining that “the film industry in Saudi Arabia officially started in 2018, but its beginnings can be traced back to 2005 to the Dubai Film Festival , where several directors produced significant films.”

“For a long time, audiences in Saudi Arabia primarily watched foreign and Egyptian films. However, the cinematic community has grown more engaged and actively involved in international film festivals,” Al Ayyad, who is the editor of the rising website called fasllah.com said, adding that Saudi filmmakers have been present at festivals like Toronto and Cannes, showcasing their work and gaining recognition.

He added, however, that this presence is not solely due to state support but reflects the growing interest of the local cinephiles. And on the market for Egyptian cinema, Al Ayyad believes that “Egyptian films have always been a vital part of Saudi Arabian culture. Classics Egyptian productions continue to resonate with Saudi audiences and remain an enduring cultural influence to this day.”

Hani Khalifa shared the long journey behind Flight 404 (previously titled Cairo-Mecca), a film that began in 2011 when screenwriter Mohamed Ragaa offered him the script. Together, they envisioned Mona Zaki in the lead role, back when she wasn’t yet the star she became after her film Ehky Ya Shahrazad. The project faced numerous delays until it was finally completed in 2020, thanks to producer Mohamed Hefzy. Khalifa praised Hefzy as one of Egypt’s bravest producers, noting that many others showed initial interest but later backed out.

Production began in 2021, but Khalifa admitted they were nervous about how audiences would react, given the film’s themes. “It’s not much different from the films we made in the 2000s,” he said.

Reflecting on the film’s screening in Jeddah, Khalifa expressed his happiness with the reception, especially as Saudi audiences, used to comedies, embraced the film’s tragedy and social commentary. “There’s a growing fan base in Saudi Arabia, and this new market gives producers the chance to earn more and fund future films,” he said.

Khalifa also highlighted the challenges in Egypt, particularly the limited number of film theaters. Despite this, he’s optimistic about Flight 404 and is looking forward to its upcoming screening in California prior to the Oscars, in front of American audiences.

Meanwhile Adel said her film has yet to receive a commercial screening. “We are still waiting,” she said, adding that she prefers independent film theaters or art house cinemas. “I’m thinking of the moment and taking it day by day. Hopefully, the film will find its way into art houses, since it doesn’t have stars but the story is interesting. I hope everyone will love the film, but I don’t focus on the box office.”

Reflecting on his early years, Saad recalled being an avid cinema-goer, watching Egyptian, Arab, and American films. “Once I started working in the industry, courses and workshops shaped my approach. Teachers, mentors, and trainers influenced me greatly.” She also mentioned learning discipline from her theater school days, describing it as a strict yet essential foundation. “We were young and free, but we had to be focused, manage our talent, and respect time.”

Rakeen studied at the University of Exeter in England where she obtained her B.A. in Drama. She also participated in several acting workshops and courses in film and TV in Montreal. After graduating, she returned to Amman, where her first television acting experience was in the series The Gate of Jerusalem.

She has participated in a women’s rights awareness campaign titled The Drama of White Hands. Her work includes Chronicles of Her (2020) and The Knower (2021) and several short films: Kroka (2022), Seam (2017) and Foreign Language (2012).

Meanwhile, she has appeared in a number of television series, including AlRawabi School for Girls (2021) directed by Tima Shomali, Azmat Montasaf Al Omr (2023), The Giza Killer, Kaboos, Etezan, Ittizan, Al Hallaj and the mini-series Rivo (2022).

Noha is a graduate of Cairo University’s English department and has a background in Learning and Development. Her passion for filmmaking led her to attend a Fundamentals of Directing workshop in 2017.

As her graduation project, she made the short film Into Reverse, which had its premiere at the Dubai International Film Festival. In 2020 she wrote and directed her second short film, Once Upon a Time in the Café. Both films received acclaim and went on to participate in various local and international festivals, where they won multiple awards. Her career made a leap forward with her first feature, Spring Came Laughing.

With extensive experience covering Saudi cinema and the regional film industry, he is the founder and editor-in-chief of fasllah.com, an independent Saudi-based platform dedicated to in-depth film criticism and comprehensive coverage of global and regional film festivals. The website collaborates with esteemed critics and journalists from across the Arab world, fostering a hub for critical dialogue and cinematic appreciation. Since its establishment last year fasllah.com has risen to become one of the most credible websites in the MENA region providing professional content about cinema international cinema in Arabic.

A passionate advocate for Saudi cinema, Al-Ayyad has played a pivotal role in promoting local industry initiatives, spotlighting emerging talents, and supporting projects that contribute to Saudi Arabia’s burgeoning film landscape. His active involvement extends to initiatives such as the Film Criticism Conference in Riyadh, which underscores his dedication to nurturing critical discussions about film criticism within the region.

Al-Ayyad is a member of the International Federation of Film Critics (FIPRESCI) and has contributed professionally to the coverage of prestigious international festivals, including Toronto, Berlin, Cannes, and Venice, alongside key Arab festivals like Red Sea, Cairo, and El Gouna. His work emphasizes elevating cinematic voices from the MENA region, ensuring they receive recognition on global platforms.

Beyond festival coverage, Al-Ayyad has served on the juries of notable events such as the Ismailia International Film Festival and the Amman International Film Festival. His expertise also extends to script evaluation as part of the Saudi Broadcasting Authority’s script reading committee and program curation during his tenure as the programming manager for Thmanyah Cinema. Currently, he leads the arts section at the prominent Saudi publication Elaph.

Khalifa’s work is distinguished by its authentic portrayal of human emotions and relationships, combined with a subtle critique of societal norms. His films often focus on characters navigating personal and social challenges, making them relatable to a wide audience. His ability to craft multidimensional stories has earned him a devoted following and critical acclaim.

Born on July 15, 1972, he began his artistic career as an assistant director, contributing to significant Egyptian films like Sareq Al-Farah (The Joy Thief) and Qishr El-Bondoq (Nutshell) in 1995. These experiences allowed him to hone his skills in filmmaking, gaining valuable insights into storytelling and production. He rose to prominence with his debut feature film, Sahr El-Layali (Sleepless Nights, 2003). This ensemble drama, starring Mona Zaki, Sherif Mounir, Ahmed Helmy, Khaled Abou Al Naga and Hanan Turk, offered a profound exploration of relationships and the intricacies of modern Egyptian society. The film’s narrative weaves together the lives of four couples, delving into themes of love, betrayal, and personal growth. It was both a critical and commercial success, earning several awards and cementing Khalifa’s reputation as a director with a distinctive voice.

In 2015, Hani Khalifa returned to filmmaking with Sugar Rush (Sokkar Mor), a film that explored social and political themes in post-revolutionary Egypt, underscoring Khalifa’s ability to seamlessly blend social and political storytelling with humanity and finesse. Khalifa’s creativity has extended beyond cinema to television, where he directed acclaimed series such as Fouq Mostawa El Shobohat (Above Suspicion, 2016) and El Hesab Yegmaa (The Account is Settled, 2017). These works were praised for their intricate characters and compelling dramatic dynamics, earned him recognition as a versatile and impactful storyteller in both mediums.

In 2024, Khalifa made a much-celebrated return to cinema with Al-Rihla 404 (Flight 404), reuniting with actress Mona Zaki. The film tells the story of Ghada, a woman grappling with the weight of her past as she embarks on a mysterious journey that challenges her emotionally and psychologically. Khalifa’s signature style — balancing deep psychological insights with compelling visuals — shines in this film, marking a new chapter in his career. Co-starring are Mohamed Farag, Mohamed Mamdouh and Shereen Reda. The film is Egypt’s official submission for the Best International Feature Film category at the 97th Academy Awards.

The Witness opens and closes with scenes of women dancing, a joyously defiant gesture whose tragic undertones only come into shaper relief as the drama unfolds. Zara (Hana Kamkar) runs a women’s dance school in Tehran, as Saeivar establishes with an elegant opening tracking shot that glides full circle through a choreography session. Watching her with quiet pride is Tarlan Ghorbani (Maryam Boubani), a gently determined woman of around 70. A stoic survivor from the idealistic wing of the 1979 revolution, Tarlan still fights for human rights in her role as a union organiser and school board member. She also shares a strong maternal bond with Zara, though she is not her biological mother, having informally adopted and raised her after she was orphaned in childhood.

Behind her impassive facade, Tarlan is carrying several heavy burden. Having long ago sacrificed career for principles, she now lives in a cramped, mouse-infested, scuzzy rental apartment. Her hot-headed thirtysomething son Salar (Abbas Imani) is in jail for unpaid debts, and desperately pleads with her to help. He also guilt trips his mother, blaming her for his money problems and stunted prospects. “I’m inheriting the consequences of your political games,” he complains, “we lost our large house due to your political activities.”

Meanwhile, Tarlan is increasingly anxious about her god-daughter’s fractious home life. Zara routinely comes into dance school covered in bruises from her bullying husband Solat (Nader Naderpour), whose feelings about his wife dancing in public have hardened since he became the family breadwinner thanks to a new high-status job with shady government connections. But their stories conflict, with Sarlat insisting he is the real victim of Zara’s violent temper, deception and infidelity.

One day, when Tarlan glimpses what looks like a dead body in Solat’s house, she fears the worst and reports him to the police for killing Zara. But with minimal evidence, no body, and the two women not being biologically related, her claims have limited power under Iranian law. More importantly, with Solat now protected by his government connections, the scales of justice are heavily weighted in his favour. Before long Tarlan has agents following her, pressuring her to drop the charges, blackmailing her with threats of lawsuits and worse. If Solat has killed Zara, it seems he did so with impunity.

Saeivar and Panahi deliver a sturdy, thoughtful, old-fashioned morality play that moves from murder mystery to revenge thriller in its final act. Filmed in a minor-key naturalistic style, the plot feels slightly laboured, the characters schematic, and the energy levels a little too muted for such highly charged subject matter. That said, Boubani has a magnetically stern, statuesque screen presence, and there are flashes of visual poetry in the mix here.

The film’s most powerful dramatic sequence, however, occurs during the end credits, which features real social media footage of girls dancing in public, some defiantly showing their hair: Mahsa Amini, Nika Shakarami, Hadi Nafaji, Aylar Hagghi and Sarina Esmaeilazadeh. These are just a few of the young women, mostly teenagers, murdered by the Iranian regime in the last two years, either for breaking conservative dress coded or protesting in the wake of Amini’s killing. All were beaten, tortured or shot to death, with leaked reports suggesting some were even sexually molested first.

With breathtaking cynicism, the Iranian government have tried to blame all these deaths on suicides, random accidents or violence by armed protestors, and often refuse to release the bodies until the families of their victims endorse this official narrative. The contrast between the innocent joy of these dancing clips and the corrupt, sadistic, misogynistic, cowardly men who see young women having fun as a threat is both heartbreaking and enraging. The Witness is a quietly furious, well-intentioned film, but the repulsive child-killers who currently rule Iran deserve much more fiery condemnation than any mere film can deliver.

Director: Nader Saeivar
Screenplay: Jafar Panahi, Nader Saeivar
Cast: Maryam Boubani, Nader Naderpour, Hana Kamkar, Abbas Imani, Ghazal Shojaei, Fahrid Eshaghi
Cinematography: Rouzbeh Raiga
Editing: Jafar Panahi
Music: Karwan Marouf
Producers: Said Nur Akkus, Silvana Santamaria, Arash T. Riahi, Sabine Grüber, Emre Oskay, Timur Savci
Production companies: ArtHood Films (Germany), Golden Girls Films (Vienna), Sky Films (Turkey)
World sales: ArtHood Films
Venue: Cairo International Film Festival
In Farsi
100 minutes

It is quickly revealed to be a dream, a distant memory of an old Palestinian practice belonging to the dementia-suffering Mariam (Shafiqa Al Tal). She lives with her son, Moussa (Nadeem Rimawi) who struggles with her condition, particularly when it prompts her to wander, confused in the city streets. Miriam’s is one of three stories that subtly interconnect in May Ghouti’s short drama – the tales of three Jordanian women of different ages who are neighbours and each going through their own personal struggles.

Aya (Samira Asir) finds Miriam wandering near their building and returns her safely to her apartment. She is, herself, returning home from the hospital and preparing to anxiously await the results of the latest round of IVF treatment that she and her husband Sanad (Majd Eid) have undertaken. In the flat upstairs, Haneen (Sofia Asir) rushes to desperately tidy her home to clear away the evidence of her father (Ahmad Kloub) who is a person of short stature, and of whom she is embarrassed. Following each of these women across the course of a single day, The Chant is a gentle examination of their situations and their relationships.

In some ways the women each exhibit a kind of shame – Haneen’s is clearly about her father, while Aya despairs of her inability to have a child with Sanad, and Miriam understands, at times, the burden she is on her son. However, Ghouti is not interested in pushing these emotions into the realm of melodrama, instead opting for discreet moments in which the tensions are delivered in broken eye contact, in nervous glances, in understated body language. All three of the actresses give nuanced performances that allow Ghouti to mine the deeper waters of their characters giving all three moments of release and reconnection that strike a perhaps unexpectedly profound chord.

Director: May Ghouti
Cast: Shafiqa Al Tal, Samira Asir, Sofia Asir, Nadeem Rimawi, Majd Eid, Ahmad Kloub
Producers: Tamir Naber, Omar Sawalha, May Ghouti
Cinematography: Omar Sawalha
Editing: Wael Joudeh, Ahmad Ramahi
Sound: Hussam Sabanekh
Music: Laith Totah
Art direction: Ayoub Nahhas
Production company: Moonstone Productions (Jordan)
Venue: Cairo International Film Festival (Short Film Competition)
In Arabic
22 minutes

Born on July 23, 1971 in Cairo, Ezz’s journey into film started with a career in modeling, which he believed would serve as a stepping stone to his ultimate dream of acting. Despite initial setbacks and minor roles in films like A Fish & 4 Sharks (1997) and Kallam Al Layl (1998), he kept going, until a  breakthrough came in 2001 when director Inas El-Degheidy cast him as the lead in Mozakarat Moraheqa (Memoirs of a Teenager). The film’s bold exploration of themes like love and sexuality and El-Degheidy’s vision put Ezz on track as a promising talent in Egyptian cinema. He later participated in a romantic comedy Sana Oula Nasb (First Year of Deception) in 2004.

Ezz’s career has been marked by significant collaborations with remarkable directors and producers who enabled him to overcome the ‘handsome boy’ box. In a masterclass that was held during the Cairo Film Festival, he credited several directors for helping him captivate the hearts and minds of Egyptian audiences.

Since 2005, he has become a major star at the Egyptian box office. One of his pivotal films, Malaki Iskandareya (Private Alexandria, 2005), directed by Sandra Nashaat, was a major turning point when the well-made, slow-burn thriller became a hit at the box office. The film’s success and the acclaim it got from critics pushed Ezz into stardom. He collaborated again with Nashaaat in El-Rahinah (The Hostage, 2006), where he delivered a gripping performance in a European-style thriller shot partly in Ukraine.

In another hit, the action-espionage thriller Masgoun Transit (Transit Prisoner, 2008), he shared credit with the late veteran actor Nour El-Sherif. In 2010 he took the role of a Bedouin drug dealer in Al-Maslaha (The Stuff) with Ahmed Al-Saqqa.

Ezz’s forays into television has also been met with acclaim. In Abu Omar Al-Masry (2018), he portrayed a lawyer-turned -militant, exploring the roots of extremism. His performance was widely praised, solidifying his reputation as a versatile actor capable of tackling complex roles.

Ezz also participated in the wave of nationalist films and TV series featuring uplifting and thrilling stories, either about the history of the Arab-Israeli conflict or about counterterrorism, both popular topics at the box office. In The Cell (2017), he played the role of a special forces police officer chasing an extremist, and in Al-Mammar (The Passage, 2019), he portrayed an Egyptian commando during the War of Attrition. The film, directed by Sherif Arafa, was a box-office success, grossing nearly 75 million Egyptian pounds.

He then starred in Weland Rizk, a crime trilogy which became a cultural phenomenon in Egypt. Chronicling the lives of four brothers entangled in crime, the franchise’s second part broke records, grossing over 100 million pounds. The third part, supported by Saudi Arabia’s General Entertainment Authority, has already generated buzz for its high budget and gripping storyline.

Another milestone was Kira and El-Gin (2022), in which Ezz starred alongside Karim Abdel Aziz. Set against the backdrop of Egyptian resistance during the British occupation, the film became the third highest-grossing Egyptian film, earning nearly 120 million pounds. This commercial success allowed the film to be screened in the Rotterdam International Film Festival as part of the Limelight program, which is dedicated to screening the blockbuster films of the year.

Over nearly 20 years, Ezz has consistently showed his ability to play different characters and embrace a variety of roles across genres, from comedy, action and drama to thrillers and historical epics. His career is marked by a commitment to push creative boundaries and work on complex characters.

Director Daoud Aoulad-Syad (Adieu forain, The Wind Horse, The Mosque) is also a renowned photographer, a fact that suggests he has an autobiographical connection to the 12-year-old Youssef (Youssef Akadir), who is crazy about photography and apparently very good at it, despite being sightless. The paradox of a blind photographer opens the door to meditation on inner sight and vision, reinforced by the odd characters they meet en route.

In the ordinary world that serves an a introduction, Youssef is a popular student who says goodbye to his schoolfriends and his girlfriend to visit his grandparents in their village over summer vacation. Loving and over-protective, the old folks have been his guardians ever since he lost his parents in a car accident when he was a baby. Now that he feels “all grown up”, they don’t know how to handle his restlessness, other than to give in to all his demands. When he overhears a conversation about a group of blind Swiss tourists intending to visit the Blue Lake, he insists that grandpa Allal (played with gentle, tired affection by veteran actor Mohamed Khouyi) take him there, too.

Allal initially refuses, but his heart is heavy with a secret the pulls him, too, to the lake. He says several times that he wants to “stop the noise of his taxi” and rest his body. While grandma Ouardia (Hasna Tamtaoui) worriedly looks on, they depart in Allal’s taxi cab on what promises to be a long journey.

There is soon a mini-confrontation with a policeman who stops them at a checkpoint and objects to Youssef taking his picture. Allal talks his way out of that one, unaware that Youssef has spirited away the cop’s notebook in revenge. “You underestimate me,” he tells his grandfather, a comic phrase that becomes his refrain as the film goes on.

The screenwriters are stingy with words and the scant dialogue leaves some of the events that befall the two travellers open to interpretation or even puzzling, as in Youssef’s abrupt return to grandpa after being lost in the desert. One wonders whether there are shots missing or if the editing is deliberately elliptical.

In the role of the boy, Akadir expresses an unselfconscious confidence that makes his blindness a natural part of his individuality, like his surprising ability to take good photographs. Although his aging guardians worry what will become of him when they are gone, and there is even a dark hint that neither one may ever return from the Blue Lake, Youssef seems unsinkable. At first he appears willful and dangerous in his readiness to run away across the desert. But with every new encounter – the guardian of a desert well who lives a lonely existence,  the leader of a small religious community who teaches in parables – he learns something important about the essence of a human being.

An interesting subtext is how the official precepts of religion are superseded by pragmatism in the desert; as when the two travellers are offered cooked linx meat and Youssef asks if it’s halal. Their host replies, “It’s hunger that’s forbidden.”

Cinematographer Ali Benjelloun admirably captures the fascination of Youssef’s home village with its sharp, clean lines cutting through the warm ochre-colored sandstone that seems sculpted into streets and habitations. In shots of Allal praying against a cloudy sky or the unexpected appearance of a CGI hot air balloon, the desert vibrates with ancient meaning but always sidesteps the stylized perfection of The Sheltering Sky. Music is minimal.

Director: Daoud Aoulad-Syad
Screenwriters: Daoud Aoulad-Syad, Majid Seddati, El Hoceine Chani
Producers: Daoud Aoulad-Syad, Cécile Rubrecht
Cast: Youssef Akadir, Hasna Tamtaoui, Mohamed Khouyi
Cinematography: Ali Benjelloun
Art director: Ismael Karmoune
Editing: Daoud Aoulad-Syad, Tarik Amrani
Music: Moura Zdaidate
Sound: Abdeaziz Ghassine
Venue: Cairo International Film Festival (Horizons of Arab Cinema)
In Arabic
85 minutes

Dissecting the high cost of political resistance, Abo Zaabal 89 is a remarkable achievement and  a strong addition to Arab cinema this year. It should easily find its way to international film festivals with a political orientation and to countries with a high number of Arab exiles.

On a hot summer night in August 1989, Bassam’s father, Mahmoud Mortada, was imprisoned and tortured at the infamous Abo Zaabal prison alongside 52 other socialist activists, during a crackdown on workers’ strikes. Shortly after his release, Mahmoud, broken and disillusioned, left Egypt for Vienna, abandoning his family in the process. His departure left Bassam, then only five years old, in the care of his mother, Fardous, a resilient socialist activist who carried the burden of raising her son while grappling with her own trauma and illness. These unresolved fractures form the backbone of Bassam’s film as he courageously seeks to bridge the emotional chasm that has long divided his family.

Through interviews with his parents, friends, and fellow activists, Bassam pieces together fragments of their shared past. Particularly haunting are the cassette recordings Mahmoud sent from Vienna, which Bassam revisits, infusing them with reconstructed memories and flashbacks. These tapes, once a lifeline between father and son, now serve as an unflinching mirror to their fractured relationship, forcing questions about betrayal, guilt, and resilience. Bassam’s mother, who could not afford the luxury of breaking down or walking away as Mahmoud did, emerges as the film’s stoic anchor, her anger and disappointment underscoring the depth of her sacrifices.

In many ways, Bassam is like his father. Both have been defeated in their dreams and aspirations. Bassem is one of the millions of young people who participated in and believed in peaceful democratic change during the 2011 Arab Spring, a progressive, pro-democracy, left-leaning movement that was severely defeated, leaving many people dead or in prison. His father, too, was frustrated and defeated after getting out of prison, especially after a worker he fought to get elected to parliament switched sides to the ruling party.

Abou Zaabal 99 transcends being just a film about trauma in a dysfunctional family, putting all the director’s skills as a filmmaker to the test. Maged Nader’s camera captures the warm cinematic reenactment of his early family life: his mother preparing fried fish to give to his father during a prison visit, mixed with other reenacted scenes of his father in prison being beaten and tortured by the police.

Abo Zaabal, the notorious site of Mahmoud’s torture, is symbolically and physically reconstructed in the film, serving as both a literal and metaphorical space for Bassam’s inquiry into his father’s pain. This act of reconstruction is central to the documentary’s thematic ambition: by recreating the past, Bassam seeks not only to understand the trauma his father endured, but also to confront his own feelings of alienation and resentment.

The film is as much a testament to collective suffering as it is a critique of political oppression. By intertwining the personal with the political, Abo Zaabal 89 reflects on how Egypt’s turbulent history has shaped the intimate dynamics of its citizens. Bassam’s attempt to reconcile with his father mirrors a broader struggle to reconcile with a generation of activists who sacrificed everything for ideals that often remained unfulfilled. The reconciliation with the father is an attempt to understand himself.

Briefly mentioned in passing is the fate of the Iron and Steel Factory, site of Bassem’s father’s protest to defend a worker: it  has been forcefully closed by the current Egyptian government and sold to be turned into shopping malls and gated communities. The symbolism is devastating.

Visually, the film employs a rich tapestry of archival footage, found materials, and dramatic monologues. A theatrical performance by Sayyed Ragab, Mahmoud’s best friend and fellow activist, becomes a particularly moving narrative device, bridging the personal and historical with the actor’s raw vulnerability. The use of newspaper archives and photographs further contextualizes the film’s personal narrative within the broader socio-political landscape of Egypt in the late 20th century.

In the end, Abo Zaabal 89 is more than a film about familial estrangement or the scars of political activism. It is an act of healing, a reclamation of history, and a meditation on the enduring complexities of love and loss. Bassam Mortada offers a profoundly brave work, making the private public in a way that invites universal empathy. This bravery extend to the very act of making a film in Egypt about political activists, torture, and political oppression. As a filmmaker, Bassam is no stranger to courage, being one of the founders of the video journalism department at the privately owned Al-Masry Al-Youm, once an alternative voice critical of the police.

The film’s ability to traverse time and space, moving from the shadowy corridors of a Cairo prison to the quiet isolation of exile in Vienna, underscores its power and significance. The film had its world premiere in the Cairo Opera House, a mile from Tahrir Square where the filmmaker, his mother and his father have been protesting since the 1970s, demonstrating against corruption, torture and oppression, and calling for labour rights. Now heavily militarized by the police, Tahrir Square today stands witness to defeated revolutions and crushed dreams.

Director, screenplay: Bassam Mortada
Production: Kesmat Elsayed for See Media Production, Anke Petersen for Joyti Films,
Kesmat Elsayed for SEERA Film GmbH
Co-production: Anke Petersen for Joyti Films, Anna Chester for JYOTI Film GmbH
Executive producer: Kesmat Elsayed
Cinematography: Maged Nader
Editing: Ahmad abo el fadl
Sound Design: Daniel Wulf, Philipp X
Music: Rami Abadir, Omar Elabd
Screenplay: Bassam Mortada
Venue: Cairo International Film Festival, International Critic’s Week
83 min

This is the setup for Peter Ghesquiere’s theatrically staged comedy which owes a significant stylistic debt to the work of Wes Anderson, which it resembles both in visual composition and its deadpan execution, albeit with a distinctly European sensibility. When brother (Luca Van Steen) and sister (Willow Rose Wood) decide enough is enough, their parents (Nico Sturm and Helene Devos) are forced to live in different homes, being swapped from one to the other in alternate weeks. It’s an absurdly enjoyable twist on the real-world situation and revels in a somewhat bleak sense of humour.

This is a world of unreality, where parents hide under the bed while their children are fighting, and a home is sawn in two and dragged across the landscape by a lorry when the divorce goes through. Ghesquiere’s script leaves all of the exposition to a narration (Flavie Dachy) from the daughter, otherwise allowing the film’s visuals to speak for themselves. Whether that is the mother and father battling over what to watch on the tv – which has also been sawn in two, but each is still able to watch their half – or the further complications that are thrust upon the parents as their children find new siblings and their forced to co-habit with new step-husbands and wives.

The action all takes place in a misted, gloomy sound-stage vista that adds to the mannered theatricality of the production. However, what – of course – makes the ensuing narrative so funny is how well-observed it is in lampooning the expectations place on children of divorce. Despite being patently farcical, Manual for a Divorce, also lands a few well aimed blows that make its tragi-comic denouement surprisingly agonising as well as amusing.

Director, screenplay: Peter Ghesquiere
Cast: Nico Sturm, Helene Devos, Luca Van Steen. Willow Rose Wood
Producers: Hans Everaert, Bo De Group
Cinematography: Piet Deyaert
Editing: Ward Geerts
Sound: Raf Enckels
Music: Hannes De Maeyer
Art direction: Toon Marien
Costume design: Sofie Callaerts
Makeup: Dorien Van Poucke
Sales agent: Radiator IP Sales (Belgium)
Venue: Cairo International Film Festival (Short Film Competition)
In French
12 minutes

One noticeable effect of the war is the sizeable number of Palestinian films that swell the festival program. Noting how Europe’s big meets Cannes, Venice and Berlin have embraced political discussion over the Russian invasion of Ukraine, Fahmy says he feels an Arab festival can debate the war on Palestine. “It is equally important to bring attention to our own urgent matters, particularly the Palestinian and Lebanese causes, which we prioritize.”

In the meantime, a number of new ideas have grown and borne fruit at the 45^th edition now underway. With a record 190 films screening and ten different juries judging them, the selection has never been so wide or eclectic. And Fahmy can only express his joy that seats are sold out every day because the festival is once more trending with the young audiences of the city. In addition to noon-to-midnight screenings at the seven major film venues in downtown Zamalek, a partnership with the Vox Cinema chain has expanded the festival’s reach to suburban audiences this year.

“The world has changed since my first years as president,” Fahmy admits, with new technology, cell phones and social media. His vision of leadership includes rejuvenating the festival by “putting blood into it”.  Certainly the veteran festival, the oldest and most stable in the Mideast, has been forced to adapt to the changing film scene around it. In the last six years the MENA region has seen the demise of the big Gulf festivals in Abu Dhabi, Dubai and Doha and the birth of new festivals like Egypt’s El Gouna and Saudi Arabia’s Red Sea. For Fahmy, they are still in their infancy: “Cairo has its own identity and there is no competition”. His response is to court new audiences through discounts to film schools and film societies, while continuing Cairo’s long tradition of supporting the Egyptian and Arab film industry within an international program.

“We have grown familiar with the American films that we see and love, that fill our film theaters all year long and have a certain rhythm. But genuine movies rooted in the culture of other countries have their own rhythms, and Cairo offers a chance to experience them.”

The festival has become a vital platform for viewing not only recent art house films, but restored classics of Egypt’s film heritage. Again it was the president who provided the stimulus after convincing a private film studio to finance the restoration of ten black-and-white films in their 1,400-title library – followed by another batch of ten. The before-and-after results were a highlight of the festival’s opening ceremony, a clever montage that revealed a startling improvement in image quality. The audience was appreciative, and in the following days the festival received numerous requests for new restorations.

A dream for the future? In the wake of the recent opening of the mammoth Grand Egyptian Museum (GEM) near the Giza pyramids, Fahmy is championing a proposal to build a Grand Egyptian Museum for the film industry that would house historical artefacts of an industry that dates back to 1920.