Rather than relying solely on suspense or conventional conflict, the series delves into the complexities of human psychology, presenting morally ambiguous characters that resist easy judgment, a quality that gives the production its distinctive identity. In this interview, Youssef discusses the making of “Al Frensawy”, his extensive preparation for the role, the importance of table rehearsals, his connection to the legal world, and why he sees his current artistic choices as the most selective and mature phase of his career.

How would you describe the experience of “Al Frensawy”?

It was a very different experience for me, and I consider it one of the most important projects I have undertaken in recent years because the series introduces a fresh approach in terms of writing, execution and pacing. From the moment I read the script, I felt I was dealing with an unconventional project, one written with exceptional craftsmanship and built around intricate details in its characters, relationships and conflicts.

What attracted me most was that the series is not a traditional legal drama. Instead, it combines crime, psychological depth and suspense, which makes it, in my view, something entirely new on almost every level.

What drew you to the character of Khaled Mosheer in the series?

The character is extremely complex, and that was precisely what fascinated me. Khaled Mosheer is not a conventional hero; he is a morally grey figure constantly moving between good and evil, allowing each viewer to interpret him differently.

At times, you sympathise with him, while at other moments he unsettles you because he is always walking a fine line between respecting the law and bending it in pursuit of justice according to his own principles. This type of character gives an actor enormous space for performance and psychological depth, which made the role particularly enjoyable for me.

If he were a real person, I think I would actually befriend him because, despite his occasional harshness, he possesses many deeply human qualities.

How did you prepare for the role?

The preparation process was lengthy and extremely important to me, particularly because the character belongs to the world of law and advocacy. I graduated from the Faculty of Law, which helped me understand certain aspects of legal thinking and professional conduct. However, I did not rely solely on that background.

I spent considerable time speaking with lawyers and judges to understand the finer details of the profession; from communication styles to behavioural patterns within legal circles. We also paid close attention to the visual elements of the series, including locations, set design and atmosphere, because authenticity was essential in every aspect of the production. We filmed in multiple locations to ensure viewers genuinely feel immersed in this world.

What is the significance of the series consisting of only ten episodes?

I believe ten-episode productions have a major advantage because they allow both the writer and director to maintain focus without unnecessary prolongation. Audiences today are drawn to fast-paced storytelling and tightly structured narratives, which is why this format has become increasingly appealing.

Another important factor was that most of the episodes had already been written before filming began. This created a sense of stability and focus and allowed us to hold proper, detailed table rehearsals, something that is sometimes lost in longer productions due to time constraints.

When the script is complete from the outset, actors can build their characters more effectively and fully understand their psychological development from beginning to end. Naturally, this is reflected in the quality of the performance.

How were you cast in the project?

The idea was presented to me years ago, and from the very beginning I felt it was a unique project worth taking a risk on. What encouraged me further was writer-director Adam Abdel Ghaffar’s determination to cast me in the lead role because he strongly believed I was the right fit for the character. That gave me tremendous confidence and enthusiasm.

In addition, the presence of such a distinguished ensemble cast was an important factor because collective stardom always enriches a production and strengthens it artistically.

The series features a large group of renowned actors. What were the filming dynamics like?

I was genuinely pleased to work alongside major talents such as Gamal Soliman, Sawsan Badr, Bayoumi Fouad, Aïcha Ben Ahmed and many others. The presence of such accomplished actors naturally creates healthy artistic competition, where each performer strives to deliver their best.

The atmosphere behind the scenes was filled with artistic discussions and detailed conversations about the characters, which undoubtedly had a positive impact on the overall quality of the series.

The series is dedicated to the memory of the late writer Wahid Hamed. What does that mean to you?

It carries immense value for all of us because the name Wahid Hamed represents an extraordinary legacy in Arab drama and cinema. His works were always distinguished by courage, awareness and the ability to address societal issues with remarkable depth.

Dedicating the series to his memory therefore holds profound significance, and I sincerely hope the work lives up to that honour.

Are there similarities between you and the character you play?

I do not believe there are many similarities between us, except perhaps commitment to work and perseverance. Khaled Mosheer is fundamentally different from me in terms of mindset and emotional reactions.

Perhaps that is exactly what made the experience enjoyable because I was looking for a character that felt psychologically and emotionally distant from my own personality.

You stepped away from television drama for a period. Why return now?

Over the past few years, I focused more heavily on cinema and participated in projects that I valued deeply and that resonated with audiences. However, I was waiting for a truly distinctive television project before returning.

I dislike repetition, so when “Al Frensawy” came along, I immediately felt it was the right project to return with because it offers a fresh and unconventional experience. I genuinely enjoy television drama because it reaches audiences quickly and widely, but cinema also has its own unique magic, and I still consider it an essential part of my artistic journey.

How do you view the audience’s reaction to the series?

Thankfully, the reactions have been extremely positive since the first episodes aired, and that has made me very happy. Audiences today have become far more discerning because of their exposure to international productions and streaming platforms, which means they no longer accept just any work unquestioningly.

Viewers are now fully capable of recognising genuine quality — whether in writing, directing or performance — and seeing this level of engagement with the series is truly rewarding.

Is there a possibility of a second season?

That ultimately depends on the success of the first season and the audience’s response. Certainly, the dramatic world and characters leave room for continuing the story, but the final decision always comes after evaluating the experience as a whole.

What is the greatest challenge for you in any new project?

The greatest challenge is always maintaining passion while avoiding repetition. I want audiences to feel they are seeing something different from me each time.

That is why I devote significant attention to preparation and research before beginning any project. Every character requires its own distinct approach and performance style, and achieving that demands considerable effort and time.

What about your upcoming projects?

There are several projects I am currently working on, and I am particularly excited about the film “Mawsim Sayd Al-Ghozlan”, adapted from a novel by Ahmed Mourad. It is a distinctive and important experience for me.

I have always enjoyed moving between cinema and television drama because each medium offers its own unique challenges and rewards.

The post Amr Youssef: ‘Al Frensawy’ was born in the space between justice and chaos first appeared on Dailynewsegypt.

In this interview, Malek speaks about the film’s relevance to his generation, the challenges of portraying a story rooted in reality, the importance of teamwork in shaping the project, and his broader vision for the future of young talent in Egyptian cinema and television.

How would you describe “EgyBest” and its connection to your generation?

The film represents an entire generation of young people; how we think, how we see reality, and how we experience the world around us. What makes it especially unique is that it is a fully youthful experience in every aspect, from the writing and production to the cast and direction.

Betting on young talent in this film has been incredibly rewarding, and it proves that we are capable of telling our own stories through works that genuinely reflect who we are.

 What attracted you to this story in particular?

The film is inspired by real events connected to the famous EgyBest website, but it does not approach the story in a purely documentary style. Instead, it blends reality with fiction.

As a young person myself, I feel that we are finally telling stories that resemble us, and that is what gives the project its authenticity and relatability. The film honestly explores the world of digital platforms and the issue of intellectual property rights, which is what initially captured public attention.

Did you feel pressure or face major challenges knowing the film is based on true events?

Of course there was pressure, but it was also motivating. We are dealing with a story that many people already know, so it was important to focus on the human and dramatic dimensions in order to create a genuine artistic experience rather than simply documenting events.

 The film strongly highlights teamwork. What was the atmosphere like among the cast and crew?

Collaboration is the film’s greatest strength. Artistic work is never built on individual effort alone; it is always the result of collective teamwork.

The harmony between all the different elements helped create a unique experience that combines realism with a contemporary artistic vision. I was also very happy to work with Salma Abu Deif. She is a hardworking actress who truly loves her craft, and working with her is always enjoyable.

How do you view actor Essam Omar’s role as a producer on the project?

Our generation of young artists genuinely cares about the industry and strongly believes that its growth and continuity depend on active participation.

Essam Omar is an artist with a clear vision and message, which is why his involvement in the project came from his deep belief in the experience and his trust in it.

How do you see your generation’s role in cinema and television today?

Our generation has successfully established itself and expressed its concerns and issues through both cinema and television.

The emergence of young actors has also been accompanied by a new wave of young writers and directors, which proves that this generation possesses genuine talent across all artistic fields. Without the opportunities given to young people, many of these talents would never have emerged or connected so strongly with audiences.

Is there a part of your own personality in the character you play?

Yes, a large part of me exists within the character, particularly in terms of ambition, determination, and the desire to build something meaningful from nothing.

These feelings are very close to me personally, and perhaps that is what allowed me to portray the character with honesty.

How did you see your recent series “Sawa Sawa”?

Thankfully, the series achieved strong success, and audience reactions were overwhelmingly positive. I always strive to take part in projects that leave a genuine impact on viewers.

Finally, what message would you like to share with audiences?

“EgyBest” is not simply a film about a digital platform; it is the story of a generation that dreams, struggles, and challenges traditional rules.

I truly hope the film receives the response that reflects the tremendous effort every member of the team invested in it.

The post ‘EgyBest’ tells the story of a generation challenging traditional rules: Ahmed Malek first appeared on Dailynewsegypt.

Daily News Egypt sat down with Steve Lutes, Vice President of the US Chamber of Commerce for Middle East Affairs, to explore the realities of US-Egypt economic ties and the challenges of turning Egypt’s potential into execution.

How do you assess Egypt’s performance in attracting investment? What is needed to improve?

Every government faces the challenge of becoming an attractive destination. Egypt already enjoys advantages that are difficult to replicate, most notably its geographic location. The key question is how to fully leverage that position.

Egypt also benefits from trade agreements with African markets. While I am not an economist, many experts anticipate strong growth across Africa in the coming years, which presents a significant opportunity. We often speak about Egypt as a gateway to Africa, but the priority now is to translate that concept into practical reality. This requires expanding dialogue frameworks beyond bilateral engagement to more multilateral cooperation.

What role can the US Chamber play in promoting economic support for Egypt?

The Chamber maintains ongoing engagement with US policymakers to highlight Egypt’s strategic economic importance, its role in regional stability, and its value as a trade and investment partner, particularly amid rising geopolitical tensions.

Through the US-Egypt Business Council, we consistently advocate for strengthening economic resilience, ensuring market stability, and supporting private sector-led growth. During periods of crisis, we also communicate the impact of economic shocks on supply chains, investor confidence, and reform trajectories. This helps foster a more stable political and economic environment conducive to financing and sustainable investment.

There’s a perception that Egypt’s private sector lacks equal opportunity. How do you see it?

There is always room for improvement; no system is perfect. From what I hear, there is clear government intent to expand privatisation and strengthen the private sector’s role. Naturally, businesses would like to see this process move faster.

Recent government changes suggest a greater willingness to accelerate reforms. This is creating more opportunities for private sector participation across a range of industries, whether through domestic firms or partnerships with international companies, including American ones.

With China, Türkiye, Germany, and Russia active in Egypt, where does the US stand?

It is important to recognise that different countries operate under different economic models. China and, to a large extent, Russia rely on state-led investment approaches. The United States operates very differently.

The US government does not direct companies where to invest. Decisions are made by private firms based on market conditions. If the investment environment is attractive, companies will come. If not, they will look elsewhere.

Can Egypt truly become a regional hub?

Absolutely. Egypt has the potential to serve not only as a gateway to Africa, but also to the Mediterranean and Europe. The Suez Canal remains a critical artery for global trade, whether for goods, energy, or even digital connectivity through submarine cables.

However, the real challenge is not promotion; it is execution.

What do you mean by execution?

Attracting American investment requires a more tailored approach than in state-led systems. In countries like China, agreements are often concluded at the government level, with companies following.

In the United States, each company must be engaged individually. Some are looking to expand into Africa, others have capital ready to deploy, while others require detailed feasibility studies. This makes the process more complex and demands targeted engagement and customised analysis.

Does this make US investment more difficult to secure?

It does make it more demanding, but also more sustainable. American companies tend to take a long-term view. They invest in local hiring, integrate into the market, and build enduring business operations.

What can we expect from the second Egyptian-American Economic Forum?

The objective is to frame the relationship strategically, rather than as a one-off event. There is a real opportunity to reinforce Egypt’s role as a gateway to Africa, including by involving African stakeholders and presenting concrete, investment-ready projects.

How can interest be converted into real investment?

American firms require precise, actionable information, not general messaging. When opportunities are clearly defined and well-structured, it becomes much easier to convert interest into investment.

Sector-focused discussions and direct engagement are essential to this process.

Why has Egypt-US cooperation in Africa been limited?

The Chamber continues to view Egypt as a key platform for US companies seeking to expand into Africa, particularly in sectors such as logistics, construction, energy, agriculture, and services.

However, progress depends on clearer project pipelines, the use of innovative financing tools such as blended finance, and stronger coordination between governments and development institutions.

What guarantees do US investors seek in tech and infrastructure?

Investors prioritise regulatory stability, transparency, effective dispute resolution mechanisms, and the availability of foreign currency. They also look for clear frameworks for public-private partnerships and predictable licensing timelines.

In the technology sector, data governance, intellectual property protection, and cybersecurity are especially critical.

Beyond energy, which sectors are most attractive?

Key growth areas include logistics, ICT, fintech, healthcare, pharmaceuticals, and export-oriented manufacturing.

What is the Chamber’s vision for the future of the Egypt-US economic partnership?

The relationship is evolving into a more strategic partnership built on resilience, innovation, and shared responsibility. Key areas of focus include energy security, regional stability, supply chain diversification, and human capital development.

The post Egypt poised to become gateway to Africa, Europe: Steve Lutes first appeared on Dailynewsegypt.

How did you receive the film’s remarkable success during its run?
The success had a very special flavour for me, because I didn’t view it as just numbers, although reaching nearly EGP 150m in under three weeks is significant. What truly made me happy was the immediate audience reaction inside theatres. I made a point of being present, watching people as they watched the film. That tells you the truth of the experience: Are they engaged? Are they laughing? Are they bored? Thankfully, the responses were overwhelmingly positive, and to me, that’s the real success.

In your opinion, what was the key factor behind the film reaching such a wide audience?
I believe the simplicity of the idea was the most important factor. We’re not presenting something overly complex or filled with tangled plotlines. It’s a clear, direct concept, but handled intelligently. That’s a difficult balance: creating something simple without being superficial. That’s exactly what we aimed to achieve.

You often talk about “respecting the audience.” How do you translate that into practice?
Respecting the audience isn’t a slogan; it’s a working methodology. It means presenting content that doesn’t underestimate the viewer’s intelligence, and doesn’t rely on cheap punchlines or contrived situations. Today’s audience is more aware; they can easily distinguish between a work that reflects genuine effort and one built on shortcuts. That’s why I apply this standard at every stage, from selecting the idea to execution.

How did your involvement with the project begin?
It started when I read the treatment. At the time, I was preparing for the series “Ashghal Shaqa”, but the idea immediately caught my attention. I felt it was worth taking the risk. I reached out to director Khaled Diab and asked to be part of the project. I even expressed my desire to work on both projects simultaneously, and that’s exactly what happened. We developed them in parallel.

What made the film’s concept stand out to you?
The idea is quirky and unconventional, yet highly adaptable on a dramatic level. That balance is rare. Many concepts are either light but shallow, or deep but lacking mass appeal. “Bershama” sat right in the middle—it combined both—and that’s what drew me to it.

The film takes place in a confined setting; an exam hall. Was that a challenge?
Absolutely. A single location can easily become monotonous if not handled skilfully. But this is where the strength of the screenplay came in—it relied on continuous development of events and characters. Combined with dynamic direction and varied visual angles, along with vibrant cinematography, the space never felt static. All these elements helped maintain a fast-paced and engaging rhythm.

What about the preparation phase? Was it as lengthy as rumoured?
Yes, we spent a considerable amount of time in preparation, but it wasn’t a luxury, it was a necessity. We revisited details constantly, searching for the best possible version of each scene. Everyone truly believed in the project, so the time never felt wasted, it was an investment in quality.

How do you see the evolution of comedy today?
Comedy has changed significantly—it’s now more grounded in reality. Audiences don’t laugh just at jokes anymore; they’re looking for situations that reflect their lives or carry meaning. That’s why we aim to create comedy that emerges from characters and situations—not just punchlines.

What are your upcoming artistic plans?
I’m currently preparing for the fifth season of “El Leaba”, a project with a strong fan base and an ongoing challenge to maintain its standard. I’m also working on a film titled “El Warsha”, which is scheduled for release next summer. I hope it offers a different kind of experience.

Finally, how would you summarize your artistic philosophy?
I believe that good work begins with respecting its audience. Success isn’t just a number; it’s an ongoing relationship with people. If you can maintain that relationship, you’re on the right path.

The post Hesham Maged: Real bet isn’t just on laughter; it’s on audience awareness first appeared on Dailynewsegypt.

In an interview with Daily News Egypt, Eela underscored Finland’s global strengths in innovation, digitalisation, and sustainability, identifying key sectors for deeper cooperation, including ICT, healthcare, the green transition, and logistics.

She also emphasised Egypt’s strategic position as a regional hub, recent progress in improving the business climate, and a shared ambition to build a long-term, future-oriented partnership between the two countries.

What is the current volume of trade exchange between Egypt and Finland, and how do you see it evolving in 2026?

Trade relations between Egypt and Finland have developed steadily in recent years, reflecting a positive trajectory. However, despite this progress, considerable untapped potential remains to expand trade flows in both directions. We expect exports from both countries to continue growing gradually in 2026, supported by stronger economic ties and increased business engagement.

According to the latest full-year data for 2024, Finland’s exports to Egypt reached approximately €456m. Goods accounted for 94% of this total, while services represented just 6%. In a broader context, exports to Egypt still account for less than 0.5% of Finland’s total global exports, which stood at around €111bn, clearly indicating significant room for expansion.

Egypt holds a strategically important position for Finland. It is currently the largest destination for Finnish goods exports in Africa, surpassing markets in the GCC. Nearly 80% of Finnish exports to Egypt consist of forest-based products, including timber, paper, and pulp.

One of the most promising opportunities lies in the services sector. Globally, services account for around 35% of Finland’s exports, yet in Egypt they represent only 6%. This gap highlights strong potential for growth in digital services, consulting, and advanced technological solutions.

On the other hand, Egyptian exports to Finland reached €88m in 2024, with goods comprising 77% and services 23%. Key exports include fertilisers, chemicals, textiles, glassware, and agricultural products such as fruits and vegetables.

What is the current level of Finnish direct investment in Egypt, and which sectors hold the most promise?

Measuring Finnish direct investment in Egypt is not always straightforward, as many companies operate through global structures, meaning their investments are not always fully captured in country-level statistics.

That said, several prominent Finnish companies have established significant operations in Egypt. For example, Huhtamäki operates three manufacturing facilities and has obtained a Golden Licence, reflecting the scale of its investment. HMD Global has also set up large-scale mobile phone manufacturing operations in the country.

In addition, Nokia plays a major role in Egypt’s telecommunications landscape, running extensive regional operations from Cairo and contributing to digital infrastructure development across Africa. Meanwhile, KONE is actively involved in major construction and infrastructure projects, providing vertical transportation solutions.

Egypt is widely regarded as an attractive destination for foreign investment due to its strategic location, large market, and ongoing economic reforms. While governments can facilitate investment, decisions ultimately lie with companies. Our role is to provide accurate information and encourage Finnish firms to explore opportunities in Egypt.

We also encourage Egyptian stakeholders to engage directly with Finnish companies in Finland. Cooperation between the Finnish Embassy in Cairo and the Egyptian Embassy in Helsinki already provides a strong foundation for further growth.

Looking ahead, sectors such as machinery, ICT, and healthcare offer particularly strong potential for increased Finnish investment.

Finland is known for its leadership in digitalisation. What opportunities exist for cooperation with Egypt in this field?

Finland has developed a highly advanced ICT ecosystem and is globally recognised as a leader in digital transformation. Companies such as Nokia are at the forefront of innovation, including next-generation technologies like 6G.

One area where Finland excels is digital public services. For instance, it operates one of the world’s most efficient online taxation systems, developed by Solita, which simplifies compliance by automatically calculating taxes and preparing returns for approval.

In addition, a comprehensive digital government platform developed by Gofore enables citizens to access a wide range of public services online—from passport applications to vehicle registration—eliminating the need for physical visits.

Egypt has already made important strides through initiatives such as the Digital Egypt platform, creating a strong foundation for collaboration, particularly in exchanging best practices and developing more advanced solutions.

There are significant opportunities for cooperation in ICT, including artificial intelligence, data centres, secure mobile networks, and broader digital transformation initiatives. Digitalisation and AI, in particular, can substantially enhance productivity across key sectors of the Egyptian economy.

What joint efforts are underway in sustainability and the green transition?

Finland’s approach to sustainability is based on collaboration, long-term planning, and science-based policymaking, bringing together government, private sector, academia, and civil society.

One key initiative is Finland’s support for the “Switch to Circular Economy” programme, implemented by the United Nations Industrial Development Organization (UNIDO) in Egypt under the name “One Circle”, which promotes resource efficiency and sustainable production.

A notable example is a refurbishment centre established by Nokia, focused on extending the lifecycle of mobile network equipment. The facility is already operational and has strong potential for expansion.

Finland also plays a leading role in the World Circular Economy Forum. Meanwhile, companies such as Wärtsilä are investing in breakthrough technologies, including power plants capable of operating on 100% hydrogen, an innovation with significant implications for Egypt’s energy transition.

What challenges do Finnish companies face in the Egyptian market?

We recognise and appreciate the significant efforts made by Egyptian authorities to improve the business environment. Reforms in areas such as customs management have been particularly noteworthy and send a positive signal to investors.

However, some challenges remain, particularly in customs clearance procedures and administrative processes. Addressing these issues will be important for enhancing Egypt’s competitiveness as a global logistics hub and gateway to Africa.

It is also important to note that Finland conducts its trade policy within the framework of the European Union, working closely with EU member states and the EU Delegation in Cairo to maintain continuous dialogue with Egyptian authorities.

Overall, while challenges persist, the trajectory is clearly positive, and ongoing reforms are expected to further improve the investment climate.

How does Finland view Egypt’s role as a logistics and trade hub?

Egypt’s strategic geographic location makes it ideally positioned to serve as a logistics and manufacturing hub for both Africa and the Middle East. Its access to major shipping routes and proximity to key markets offer clear advantages.

As a member of the African Continental Free Trade Area, Egypt provides access to a vast and growing African market. Many Egyptian companies already have a strong presence across the continent, creating opportunities for Finnish firms to collaborate and expand their footprint in Africa.

Are there emerging sectors that could drive future cooperation?

Yes, several emerging sectors offer promising opportunities. Finland has a vibrant gaming industry with annual revenues of nearly €3bn, led by globally recognised companies such as Supercell and Rovio Entertainment.

Finland also hosts Slush, one of the world’s leading startup events, connecting entrepreneurs with investors and global tech ecosystems.

Healthcare innovation is another promising area, particularly in women’s health, where Finland has developed specialised expertise through initiatives such as the Women’s Health Hub.

At the same time, Egypt’s dynamic and youthful startup ecosystem presents strong opportunities for collaboration. Initiatives like the Nordic Tech Hub in Cairo have already demonstrated the potential to connect Nordic innovation with Egypt’s development and sustainability goals.

Where do you see the greatest potential for strengthening cooperation in the coming years?

The priority is to continue expanding trade and investment flows in both directions. Finland and Egypt share a long history of commercial relations spanning more than a century, built on trust and mutual respect.

In today’s rapidly evolving global environment, strengthening these ties is more important than ever. The Finnish Embassy in Cairo and the Egyptian Embassy in Helsinki play a key role in facilitating business connections and supporting companies.

The establishment of the Finnish–Egyptian Trade Council and its Egyptian counterpart is another important step in strengthening institutional cooperation. These platforms will serve as key pillars in unlocking new opportunities.

Overall, the outlook for Finnish–Egyptian relations is highly promising, with strong potential to deepen cooperation across trade, investment, innovation, and sustainable development.

The post Finland sees strong untapped potential to expand trade, investment with Egypt: Finnish ambassador first appeared on Dailynewsegypt.

■ After a four-year absence from Ramadan drama since “Hagma Mortadda” (2021) with Ahmed Ezz, why did you choose “Manna’a” for your return?
The primary reason was that it offered something entirely new for me. This is my first foray into popular drama, and also my first time portraying a character with such a dark, morally complex nature. The character of “Manna’a” –or “Gharam” at the beginning– is inspired by real events in Cairo’s El Batneyya neighbourhood in the mid-1980s, when the area was known as a hub for drug trafficking.
What drew me in was the transformation: a young widow evolving from a victim into a powerful figure in a harsh and unforgiving world. I had been searching for a role that breaks away from idealised portrayals. Ramadan audiences are naturally drawn to strong, conflict-driven narratives, and this project delivered exactly that. I was also captivated by the 1980s setting–its nostalgia, music, fashion, and visual identity. It felt like the perfect opportunity to present something both artistically rich and widely engaging.

■ Was portraying a villainous character like “Manna’a” a major artistic risk?
Absolutely–but it was a calculated one. Every meaningful project involves risk, and I have always embraced change and diversity in my career. The character is morally condemned for her actions, yet the story does not glorify evil. Instead, it explores the internal struggle between good and evil, and how extreme circumstances can push an ordinary person towards a darker path.
What I appreciated most was that the narrative ultimately restores moral balance. There is a powerful moment of redemption in the final episode. Perfect characters rarely create compelling drama–human contradictions are what make roles memorable. Judging by audience reactions, that depth clearly resonated.

■ Were you concerned about comparisons with previous works depicting El Batneyya and the drug trade?
I was aware that comparisons were inevitable, but we were never trying to replicate anything. We are telling a completely new story with its own details. The El Batneyya of the 1980s is a rich and layered setting, full of social and human conflict–comparable in depth to global classics such as The Godfather.
There is a whole generation today that knows very little about this district and its history, or how security campaigns eventually dismantled the drug trade there. The series reconstructs that world with authenticity, which is why it connected so strongly with audiences.

■ What was the biggest challenge during filming?
The challenge was both personal and collective. Recreating the 1980s with authenticity required enormous effort. United Media Services built a full replica of the El Batneyya neighbourhood at the Egyptian Media Production City. Every detail mattered–set design, costumes, vehicles, language, even the smallest accessories.
We wanted viewers to feel they were truly living in that era. On a personal level, the role was emotionally demanding, requiring a complex psychological journey–from vulnerability to power, and ultimately to self-awareness.

■ How was your collaboration with Ahmed Khaled Saleh, given your relationship with his late father?
Ahmed is like family to me. I have known him for many years, and I shared a close friendship with his father. During filming, I often found myself remembering Khaled, which brought moments of deep emotion.
At the same time, I felt proud to see Ahmed continuing his father’s legacy. Our collaboration was both warm and professional, and I believe that chemistry translated naturally on screen.

■ Did the intense competition of Ramadan 2026 influence your decision?
Not really. My focus has always been on the quality of the project rather than competition. That said, Ramadan 2026 was one of the strongest seasons in recent years, with remarkable diversity and high production value.
I’m very pleased with the success of “Manna’a” and proud that it managed to stand out. Ultimately, audiences seek quality–and that’s what we aimed to deliver.

■ What did “Manna’a” add to you, both artistically and personally?
It added a great deal. Artistically, it allowed me to explore popular drama for the first time–a genre I had long been curious about. The character itself was powerful, layered, and deeply human.
On a personal level, it taught me a great deal about psychological resilience and the human capacity to endure and adapt. The success of the series also gave me a significant emotional boost after my time away from Ramadan drama.

■ Were you affected by behind-the-scenes tensions or social media controversy?
Constructive criticism never bothers me–it is part of the profession. As for social media noise, I’ve learned that it does not necessarily reflect real public opinion.
The response I receive directly from audiences has been overwhelmingly positive. As for behind-the-scenes disagreements, they are natural in any large production, and I prefer not to dwell on them. What matters most is the final result.

■ You recently received the “Omar Sharif Award for Artistic Achievement”. How do you view this recognition?
It is an honour I deeply value. Receiving an award bearing the name of Omar Sharif is incredibly meaningful, especially after more than 25 years in the industry.
It feels like recognition of my entire journey–from “Mowaten we Mokhber we Haramy” to “Emaret Yacoubian” and “Kira we El Gin”, and now “Manna’a”. I’m deeply grateful to the Red Sea International Film Festival and everyone involved.

■ What are your upcoming film projects?
I have two films that I will soon resume work on. The first is “Ad’af Khalqoh”, starring Ahmed Helmy and directed by Omar Hilal. The second is “Hamlet”, directed by Ahmed Fouzi Saleh.
Both projects are entirely different in terms of subject and character, and each presents new artistic challenges. It marks an exciting return to cinema after focusing on television.

■ What criteria guide your choice of roles at this stage?
Diversity above all. I always look for projects that differ from my previous work–whether in subject, character, or overall artistic vision.
I want every role to add something meaningful to my journey. The audience deserves originality and excellence, and that remains my guiding principle.

■ A final message to your audience?
I thank them from the bottom of my heart for their patience and unwavering support. “Manna’a” was my gift to them, and I promise many more projects worthy of their trust.

The post Hend Sabry: ‘Manna’a’ marks my first venture into popular drama; and my boldest role yet first appeared on Dailynewsegypt.

After years of widespread acclaim and spirited debate, ‘Al-Maddah’ has drawn the curtain on one of the most notable television experiences in contemporary Egyptian drama. Its sixth instalment, “Al-Maddah 6: Ostorat Al Nehaya,” delivers the culmination of a complex spiritual and human journey. Closely associated with star Hamada Helal, the series moves beyond a conventional narrative of jinn and unseen realms, evolving into a sophisticated exploration of faith, morality, and inner conflict.

In this exclusive interview, Helal offers an insider’s perspective on the making of the finale, the evolution of Saber’s character, and his artistic vision beyond “Al-Maddah”. Widely regarded as one of the most prominent drama productions of recent years, the series has followed Saber’s journey across six seasons, achieving remarkable success by blending spiritual depth with suspenseful storytelling.

As “Al-Maddah 6: Ostorat Al Nehaya” marks the definitive conclusion of the series, how does this final instalment construct its narrative arc, and what were the most significant artistic and production challenges you encountered?

“Al-Maddah 6: Ostorat Al Nehaya” was conceived as a focused and powerful finale. The narrative begins at a moment of loss, as Saber relinquishes both the sceptre and the enchanted dagger, only to face a radically different antagonist, an embodiment of absolute evil. This shift required deeper psychological and spiritual layering of the character.

From a production standpoint, the experience was equally demanding. Filming in Morocco added rich visual textures, but several sequences posed considerable logistical and technical challenges. Ultimately, the season is structured around sacrifice, faith, and a return to one’s authentic self.

Over six instalments, Saber has undergone a profound transformation. How would you articulate his final evolution, and in what ways does the ending achieve narrative closure?

Saber’s journey culminates in a transition from reliance on supernatural power to an inner strength rooted in faith, patience, and wisdom. In this final phase, he confronts evil not merely through physical means, but through moral and spiritual resilience.

The ending was deliberately crafted to be epic yet introspective—defined by sacrifice and a symbolic victory that resonates beyond the narrative. It was essential that the conclusion honoured the character’s long journey, offering the audience a genuine sense of closure and fulfilment.

The series is distinguished by its integration of music as a narrative device. How were key pieces such as “Maddah fi Hob El-Nabi,” “Mawlana,” and “Halaqat” selected and positioned within the dramatic structure?

Each musical piece was conceived as an extension of the narrative rather than a supplementary element. “Maddah fi Hob El-Nabi” serves as an ideological anchor, reinforcing the protagonist’s spiritual foundation. “Mawlana,” as the closing theme, provides a contemplative and serene resolution, embodying surrender and inner peace.

“Halaqat,” by contrast, reflects the cyclical nature of conflict and destiny. The selection process involved close collaboration with composers and lyricists to ensure that each song was organically embedded within the dramatic fabric. Audience reception confirmed that these pieces enhanced both the emotional and spiritual dimensions of the series.

Your Ramadan 2026 release, “Wallah Be’oudah,” carries a distinct tonal and thematic resonance. How does the song engage with contemporary audience sensibilities, and how does it align with the ethos of Al-Maddah?

“Wallah Be’oudah” operates on two levels: it is accessible in form yet profound in meaning. It speaks to a collective longing for renewal—spiritual, emotional, and existential—particularly during Ramadan. In a fast-paced and often overwhelming world, such messages serve as reminders of enduring values like goodness and mercy.

Its thematic alignment with Al-Maddah is clear, as both the song and the series emphasise the triumph of good over adversity and encourage a return to inner balance and faith.

Your repertoire spans both spiritual and emotional registers. From a performance standpoint, how do you navigate this duality without compromising authenticity?

The key is sincerity. Every artistic expression—whether spiritual or emotional—must come from a genuine internal state. Spiritual works like Al-Maddah offer a sense of elevation and positive energy, while emotional songs allow for a more intimate exploration of human vulnerability.

Rather than seeing them as opposing domains, I view them as complementary dimensions of the same artistic identity. This approach allows me to maintain authenticity while connecting with diverse audiences.

To what extent does the success of “Al-Maddah” reflect a broader shift in audience preferences towards spiritually inflected drama?

There is certainly a noticeable shift. Audiences today increasingly seek content that offers not only entertainment but also meaning and reflection. Spiritual drama resonates because it engages with fundamental human questions—identity, morality, and belief.

Al-Maddah succeeded because it moved beyond conventional horror tropes, presenting a more human and accessible exploration of the eternal struggle between good and evil.

Following the conclusion of such a defining project, how do you navigate the balance between artistic closure and creative renewal?

The end of “Al-Maddah” brings both pride and nostalgia. It marks an important chapter in my artistic journey, but it also opens the door to new possibilities. I am currently working on a range of musical projects with different tones and themes, alongside potential dramatic ventures.

The challenge—and the opportunity—is to build on this experience while continuing to evolve artistically.

Audience engagement with “Al-Maddah,” particularly during Ramadan, has been exceptionally strong. What do you believe lies behind this resonance?

Two key factors: sincerity and timing. Ramadan is a period when audiences are more receptive to spiritual themes, seeking content that offers emotional and moral reassurance.

When a work is both authentic and aligned with the audience’s mindset, the connection becomes natural. Al-Maddah succeeded because it offered not just entertainment, but a meaningful experience grounded in faith and sacrifice.

If you were to map your musical journey within “Al-Maddah,” which compositions would you highlight, and why?

“Ala Allah” represents the beginning, centred on trust and reliance on divine support. “Anshoudat Al-Burdah” reflects a deepening spiritual dimension, adding layers of reverence and contemplation.

“Mawlana,” from the final instalment, captures the essence of closure—peace, surrender, and resolution. Together, these works form a coherent artistic and spiritual progression.

Finally, what message would you like to share with your audience as you close this chapter?

My message is one of gratitude. The audience’s unwavering support has been the foundation of this journey. Their connection with “Al-Maddah” transformed it from a series into a shared experience.

I remain committed to creating sincere, meaningful work that resonates emotionally and spiritually, and I look forward to continuing this journey with them in new and evolving forms.

The post Hamada Helal: Saber’s triumph in ‘Al-Maddah 6’ is rooted in faith, not force first appeared on Dailynewsegypt.

In an interview with Daily News Egypt, German Ambassador to Egypt Jürgen Schulz discusses the current state of bilateral relations, highlighting growing business interest, key investment trends, and the two countries’ joint push to position Egypt as a regional hub for clean energy.

What is the current volume of trade between Egypt and Germany, and what are the growth expectations for the coming year?

Germany is Egypt’s fifth-largest trading partner and its most important partner within the European Union, with bilateral trade currently amounting to around €5.5bn. This figure clearly reflects the depth of our economic relationship.

While there is no specific numerical forecast for the coming year, we are witnessing growing interest from German companies seeking to expand their activities in Egypt or to enter the market for the first time. In addition, Egyptian exports appear to be on an upward trajectory. These trends give us confidence in a positive outlook for bilateral trade going forward.

What is the current level of German investments in Egypt, and which sectors are attracting the highest investment?

Around 1,600 German companies are currently operating in Egypt. This in itself demonstrates the depth of German engagement in the Egyptian market. These companies are active across a wide range of key sectors, including machinery and industrial supplies, chemicals, infrastructure, automotive components, water management, and energy.

In addition, we are seeing growing interest in production and service-oriented investments, particularly in regional service hubs, IT services, and call centres. This is strongly supported by Egypt’s skilled workforce and the availability of German-speaking talent, which makes the country an increasingly attractive location for such activities.

Are there plans for new German companies to enter the Egyptian market, and which industries are they targeting?

Over recent years, we have observed increasing interest from German businesses in expanding their presence in Egypt or entering the market for the first time. This reflects growing confidence in Egypt as an industrial and investment destination.

Well-known German companies such as Bosch have expanded their presence and manufacturing activities in Egypt in recent years. These developments underline the attractiveness of the Egyptian market for German industry and point to continued momentum in our economic cooperation.

What future investments are being considered, particularly in energy and renewables, manufacturing, and infrastructure?

Germany will continue to support the expansion of renewable energy through Egypt’s NWFE programme. The German government is particularly focused on financing the modernisation of Egypt’s electricity grid. This will, in turn, enable further private sector investment in solar and wind energy facilities and support the broader energy transition.

Are there any upcoming German trade missions to Egypt next year, and if so, when are they planned and which sectors will they focus on?

German businesses are constantly exploring opportunities, including in Egypt. Often, companies travel individually to meet potential partners and customers. At times, larger groups of German businesses visit as part of organised delegations.

For example, the Euro-Mediterranean Arab Association (EMA), a German business association focused on the region, has organised business missions to Egypt. In addition, during meetings of the Joint Economic Commission between the German and Egyptian governments, German companies have participated to deepen engagement with their Egyptian counterparts. The sectors covered during these engagements have included industrial production, business services, and machinery.

How can Egypt attract more German SMEs (Mittelstand) to invest locally, and what support mechanisms exist?

To attract more German small and medium-sized enterprises—the Mittelstand—Egypt’s key strengths lie in reliability, transparency, and long-term predictability. Clear and efficient administrative procedures, a stable regulatory environment, and fair market conditions are particularly important for SMEs, which tend to take a long-term perspective when investing abroad.

Germany supports this process through well-established mechanisms. The German-Arab Chamber of Industry and Commerce (AHK Egypt) actively assists German SMEs by providing market information, facilitating business contacts, and organising delegation visits and trade fair participation. In addition, programmes such as “Partnering in Business with Germany” help to build lasting partnerships between German and Egyptian companies. Together, these instruments lower entry barriers, build trust, and encourage the German Mittelstand to invest and grow locally in Egypt.

Are there upcoming agreements or plans regarding debt-swap programmes between Egypt and Germany?

Germany and Egypt are currently implementing two active debt-swap agreements. These programmes demonstrate our long-term commitment to sustainable development and social stability in Egypt. The current arrangements are set to run until mid-2027, as successive debt repayments are being swapped. Debt-swap mechanisms have proven to be an effective and flexible instrument in our cooperation and may continue to play an important role in the future.

How is Germany supporting Egypt through NWFE to enhance energy, water, or food security?

Germany has been the primary partner country of Egypt’s NWFE programme, which plays a central role in enhancing energy, water, and food security through an integrated approach.

Our primary focus within NWFE is on the energy pillar, where Germany is supporting the expansion of renewable energy and, in particular, the modernisation of Egypt’s electricity grid. This is essential to integrate increasing volumes of wind and solar power and to unlock significant private sector investment. By strengthening Egypt’s energy system, we contribute to the broader stability and sustainability of the entire nexus.

Are there plans to expand funding or technical assistance under these programmes in priority sectors?

Yes, Germany will continue its support through targeted funding and technical assistance in priority sectors. In the field of energy transition and green hydrogen, we combine financial support with policy and technical cooperation.

This includes grant funding for project preparation, concessional loans to de-risk early-stage investments, and mechanisms that help link future production with international demand. In parallel, we provide technical assistance to support regulatory frameworks, grid integration, and institutional capacity building.

This holistic approach is designed to ensure that investments are sustainable, scalable, and aligned with Egypt’s long-term development priorities. We see this as a dynamic process and remain open to expanding our engagement where it can deliver the greatest impact.

Are there specific German companies planning projects in Egypt related to green hydrogen production or energy transition?

One of the most advanced initiatives in this field is the Egypt Green Hydrogen Project, which brings together an international consortium and is strongly supported by Germany. The project is designed to produce around 259,000 tonnes of green ammonia annually from 2027 onwards.

Germany is supporting this flagship initiative through targeted instruments, including €30m from the PtX Development Fund and a long-term offtake framework under the H2Global mechanism, with a volume of approximately €397m.

Are there ongoing negotiations or upcoming projects involving German companies in solar, wind, hydrogen, or energy storage?

Germany and Egypt remain in continuous dialogue to further develop their longstanding development cooperation. Egypt continues to be a key partner for Germany, particularly in the areas of renewable energy and sustainable development, and discussions on future projects are ongoing.

How can Egypt and Germany collaborate to position Egypt as a regional hub for clean energy exports?

Egypt and Germany can work together very effectively to position Egypt as a regional hub for clean energy exports. The pathway is clear: it requires the continued expansion of renewable electricity generation and the modernisation of the electricity grid, including through initiatives such as the NWFE platform.

A strong and flexible grid is essential to integrate large volumes of wind and solar energy and to enable the scaling up of green hydrogen production for both domestic use and export.

At the same time, this must be supported by a streamlined and predictable regulatory framework, as well as tailored financial instruments that reduce risks for investors. Germany contributes to this approach through policy dialogue, technical assistance, and innovative financing mechanisms that connect Egyptian production with European demand.

By aligning infrastructure, regulation, and financing, both countries can unlock Egypt’s full potential as a competitive and reliable supplier of clean energy to the region and beyond.

Are there joint initiatives to facilitate B2B partnerships between Egyptian and German companies?

Yes, this is a core component of our work. The German Embassy in Cairo, together with the German-Arab Chamber of Industry and Commerce (AHK Egypt), actively brings German and Egyptian companies together.

We support business delegations, facilitate participation in trade fairs, and create platforms where companies can connect, exchange expertise, and develop long-term partnerships.

The post Egypt-Germany economic ties gather momentum across trade, investment, and green energy: Ambassador Jürgen Schulz first appeared on Dailynewsegypt.

At the heart of the story is acclaimed actor Tarek Lotfy, who delivers a layered performance as Badr Abaza, a powerful businessman confronted with a profound moral and emotional test. Opposite him, veteran star Mahmoud Hemeida portrays the principled judge Yahya Al-Aswani. Their on-screen confrontation has been widely described by critics and viewers alike as a “high-calibre acting duel,” adding remarkable depth and authenticity to the series.

In this interview, Lotfy reflects on the journey of inhabiting the character, the meticulous preparation behind the role, the creative chemistry he shared with Hemeida, and the message he hopes the drama conveys to audiences during the holy month. The conversation reveals both the professionalism and the human warmth that define “Forsa Akhira”.

How do you view the remarkable success “Forsa Akhira” has achieved during the Ramadan 2026 season?

I’m deeply grateful and genuinely happy with the response, especially after seeing such overwhelming audience engagement. “Forsa Akhira” is not merely a title; it encapsulates the core message of the series.

The story explores the idea that every person, regardless of their mistakes or the pressures they face, deserves an opportunity to correct their path. My character, Badr Abaza, is a successful businessman who suddenly finds himself defending his brother, accused of murder. In doing so, he clashes with a principled judge who represents the uncompromising authority of justice.

This conflict, between family loyalty and moral principle, raises a fundamental question: can a person change their destiny at the very last moment? Our answer is yes. The opportunity always exists, even if it is the final one. That is what gives the story its human depth.

Badr Abaza is a complex man; outwardly strong, yet internally conflicted. How did you approach this character?

Badr is full of contradictions, which is precisely what drew me to the role. He is neither a conventional villain nor a flawless hero; he is a man trying to protect his family at any cost, even if that means crossing certain red lines.

At first, he appears powerful and in control, but as the story unfolds, his vulnerability becomes increasingly visible, especially in moments of personal loss or guilt. I focused heavily on subtle details. The script itself evolved continuously, with adjustments made even during filming, which added further realism.

The real challenge was maintaining the balance between his external strength and internal collapse without allowing the performance to feel exaggerated.

How did you prepare for the role? Did you draw on real-life figures?

Preparation was a blend of research and imagination. I read extensively about Egyptian businessmen who had faced legal and family crises, though I did not model Badr on any single individual.

What interested me most was the psychological dimension; how a person feels when someone they love is in danger, while knowing that intervening could jeopardise everything they have built.

I also spoke with criminal lawyers to better understand legal procedures and the pressures involved. Observing the body language of individuals carrying heavy responsibility helped me capture Badr’s quiet anxiety. All of this contributed to making the character feel authentic rather than theatrical.

The series combines social drama with courtroom suspense, tackling themes such as justice, power, fatherhood, and revenge. Do these reflect contemporary Egyptian society?

Absolutely. The series engages with questions we encounter daily. How do people handle power? Does influence ultimately protect or destroy? What happens when moral principles collide with family loyalty?

Badr uses his influence to protect his brother, only to realise that this same influence may lead to greater losses. Meanwhile, Judge Yahya Al-Aswani represents unwavering integrity, even at personal cost.

This duality reflects a genuine societal tension, and I hope it encourages viewers to reflect on the importance of balancing justice with compassion.

Do you think the series succeeded in balancing suspense with social realism?

That balance was one of our main objectives. A purely suspense-driven narrative might have reduced the series to conventional drama, while excessive realism could have made it too heavy for Ramadan audiences.

We aimed for a middle ground, delivering intense moments such as courtroom confrontations and clandestine phone calls, while grounding them in real human consequences: a mother’s fear, a son’s anxiety, a wife’s guilt.

I believe the audience’s strong connection stems from the sense that these events could happen in their own lives.

Your collaboration with Mahmoud Hemeida has been widely praised. How would you describe that experience?

It was more than an acting duel; it was a masterclass.

Hemeida is not only a great actor; he embodies precision and depth. On our first day filming together, I felt a degree of nervousness, but his presence immediately puts you at ease.

He would offer simple yet powerful advice; such as, “Let the character breathe; don’t force it.” Our scenes were charged with tension, especially during direct confrontations. There was a natural exchange of energy between us; every glance, every word carried weight.

Working with him felt like learning in real time, which is something truly rare.

What kind of audience reactions have you received so far?

The response has been extraordinary, particularly on social media. Many viewers say the series makes them feel both tension and empathy simultaneously.

One scene that resonated strongly was Badr’s separation from his wife, Farida, in episode nine. It illustrates how a single mistake can unravel even the closest relationships. The scenes with Mr Hemeida have also drawn significant attention, with many commenting on the chemistry between us, which I greatly appreciate.

I feel the series has succeeded in conveying its message: do not judge a person by a single fall, offer them another chance.

After this successful collaboration, would you consider working with Mahmoud Hemeida again?

He actually said to me, “If we find the right script, we’ll do it again.” I would absolutely welcome that.

At the same time, I enjoy exploring a range of roles. After Badr Abaza, I’m considering something entirely different, perhaps a calmer role, or even light comedy. I like to surprise the audience. However, if a strong project brought me together again with Mr Hemeida or director Ahmed Adel Salama, I would not hesitate.

What do you hope audiences will take away from “Forsa Akhira”?

I hope they leave with a sense of hope. We are all human; we make mistakes, and we learn from them. Compassion and understanding can change the course of a life.

The series invites viewers to pause before judging, and to give others—and themselves—a final chance to make things right.

A final message to viewers?

From the bottom of my heart, thank you. The audience—those who watch, engage, and even critique—are the reason we continue to grow.

“Forsa Akhira” is more than a television series; it is a reminder that no matter how hard you fall, you can rise again. There is always another chance, sometimes even a third.

The post Tarek Lotfy: ‘Forsa Akhira’ reminds us that everyone deserves second chance, even at very end first appeared on Dailynewsegypt.

In this conversation, Ibrahim speaks candidly about his latest songs, his bond with audiences, his reservations about acting, his vision for Iraqi music in the digital age, and the firm boundaries he draws around his private life, while reflecting on how he experiences Ramadan in both Iraq and Egypt.

Ramadan in Iraq carries a distinct atmosphere. How do you experience the holy month there?

Ramadan in Iraq is something you feel before you describe. It carries deep spirituality mixed with nostalgia. From the sighting of the crescent moon, everything changes–the family gatherings, the sound of the “adhan”, the simplicity of shared iftars and visits between relatives.

What moves me most is the emotional solidarity. People genuinely feel one another’s struggles. There is a quiet sadness intertwined with serenity. That emotional duality lives inside me–and perhaps inside my voice–even if I haven’t expressed it directly in a Ramadan song.

How does Ramadan feel in Egypt?

Ramadan in Egypt is vibrant and celebratory. The streets are alive with lanterns, gatherings and laughter. The city feels awake all night.

The fawanees, charity tables, Ramadan series and classic songs create a collective joy that you can sense instantly–even as a guest. In Egypt, Ramadan feels expansive and social. It embraces you.

Between the two, where do you feel closest?

I can’t choose. Iraq represents my roots, reflection, memory, and depth. Egypt represents openness, celebration and warmth.

In Iraq, I live Ramadan inwardly. In Egypt, I live it outwardly, among people. Each experience completes the other.

Why haven’t you released Ramadan songs or supplications?

Because I take that very seriously. A supplication is not just a seasonal track; it is a responsibility. It must come from a true spiritual state, not from marketing calculations.

I once performed a supplication about love for God, and it was warmly received in Iraq. It was a deeply personal experience for me. That kind of work requires inner clarity.

So you’re not against the idea of a Ramadan song?

Not at all. I’m simply waiting for the right moment. If I find sincere lyrics, a melody that carries spiritual simplicity, and the right emotional state within me, I would do it.

But I don’t want to imitate anyone or enter comparisons. If I present something in this space, it must feel authentic to my own spiritual journey.

Would you consider a purely Iraqi-style Ramadan song?

Absolutely. In fact, that idea attracts me. Iraqi Ramadan carries subtle emotions; quiet, contemplative, deeply human. If I find the right artistic formula, I will present it at the right time.

What is your Ramadan message to your audience?

Ramadan is a month of mercy and reconciliation–with God and with ourselves. I wish peace to Iraq, Egypt and the entire Arab world. May love remain stronger than division.

You recently released “Al-Tayyib Ziyada”, “Ya Rouhi” and earlier “Hob Gheiry”. How do these songs differ?

Each song reflects a different emotional state.

“Al-Tayyib Ziyada” celebrates kindness. It sends a simple message: goodness is not weakness. It’s light, romantic and connects easily with audiences in concerts.

“Ya Rouhi” is more introspective. It speaks about a spiritual bond beyond appearances. It’s quieter–meant to be felt privately.

“Hob Gheiry” is more direct and confrontational. It addresses betrayal honestly. I avoided exaggeration because today’s audience immediately recognises authenticity–or the lack of it.

At this stage in my career, I choose songs based on sincerity first. I follow audience reactions, but I only release what reflects who I am.

In November 2025, you participated in the Very Short Film Festival (VS-FILM) and were honoured. How was that experience?

It was special because the context was cinematic. The audience was there for art in its broadest sense.

I performed several of my songs and also sang “Zay El Hawa” by Abdel Halim Hafez, alongside Iraqi classics. The interaction was genuine.

Being honoured in a cinematic setting felt like recognition beyond music–it was cultural appreciation.

You have performed at the Arab Music Festival at the Cairo Opera House several times. What does that stage represent for you?

The Cairo Opera House is a prestigious stage. Standing there is a responsibility before it is an honour. The audience listens carefully–they value musical depth.

I always try to present Iraqi heritage in a contemporary way. Heritage must evolve, but without losing its soul.

You’ve received acting offers, as well as theme song proposals. Where do you stand?

I’ll be honest; I’m afraid of acting. It’s a different craft entirely. It requires physical expression, timing and a kind of exposure I’m not sure I’m ready for. I don’t enter any experience unless I feel fully confident.

As for television theme songs, I take them very seriously. A theme song can live in people’s memories for years. I’ve received offers and I’m studying them carefully. If the lyrics and melody move me, I won’t hesitate.

You always keep your private life away from the spotlight, why?

Privacy is essential for me. My marriage remains away from media attention because I want to protect it. I prefer to be known for my music, not personal details.

That separation gives me balance, and protects my sincerity as an artist.

How do you view the future of Iraqi music in the digital era?

Iraqi music is in a strong phase. The Iraqi dialect is now widely embraced across the Arab world, and digital platforms have amplified its reach.

But the challenge is to preserve authenticity. We must avoid superficial trends. My goal is always to merge heritage with modern sound while maintaining a clear artistic identity.

What’s next for you?

I’m preparing songs in the Egyptian dialect, Gulf dialect and even dabke-style tracks.

I would love to collaborate with Kadim Al Sahir, and I’m considering a second heritage album.

There are upcoming concerts across several Arab countries, and I hope to perform again in Iraq very soon. This remains deeply important to me.

Can you send a final message to your audience?

Thank you for your constant love and trust. 2026 will be a year of heartfelt music and hope. Iraq will always live in my heart, and you are part of every step in this journey.

The post Sincerity before stardom: Humam Ibrahim on choosing depth over trend, future of Iraqi music first appeared on Dailynewsegypt.