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.

In this exclusive interview with Daily News Egypt, Lebleba reflects on her artistic journey, her relationship with the audience, and her experiences working with icons such as Adel Imam, Youssef Chahine, and Atef El-Tayeb. She speaks candidly about her fears, her courage, and the dreams she continues to nurture.

You once said you have never felt a single moment of regret for choosing art as your life’s path. How do you view that decision today, after all these years?
Indeed, I never felt regret, not for a moment. There is no such thing as loss in art. I gained the very thing I loved since childhood, and I gained a vast audience that loves and trusts me. What many people don’t realise is that my personal life and artistic life are one and the same. I never knew any other world.

Actress Elham Shaheen once said that you give every character a piece of your soul and make it more beautiful than what is written. How did you receive that?
It makes me very happy to hear that, because acting at its core is not memorised dialogue; it is feeling, spirit, and lived experience poured into a character until it becomes real and relatable to people.

At the Red Sea International Film Festival (RSIFF), you said audiences have only seen half of your potential. What did you mean?
I have played many roles across many genres, but I still genuinely want to take on roles I haven’t tackled yet, especially psychologically complex ones, such as characters struggling with emotional or mental disorders. These roles represent a real artistic challenge for me.

And yet you always insist on choosing roles appropriate to your age?
Absolutely. I never deceive the audience. I always make sure the character is truthful and fits my life stage, because truth is the key to any success.

What is the secret behind the deep bond between you and the Arab audience?
I grew up among them since I was five years old. I never knew a life outside the artistic world. I never felt a barrier between us. I belong to them, and I have never looked down on them, because they are the ones who made my name.

Outside comedy, how do you remember your experience in Gannet Al-Shayateen?
It was a very difficult and very special experience. The scene with Mahmoud Hemida was filmed in one long take inside a tunnel with director Osama Fawzy–done correctly from the first attempt. It was a true challenge.

You once said that the character “Hamida” in the series Ma’moun wa shorakah was one of your most difficult roles. Why?
Because audiences were used to seeing me in a comedic frame, while this character was rooted in deep human emotion and intense reactions.

You shared a long artistic partnership with Adel Imam across 14 works. What does that mean to you?
It is a rare artistic partnership. We understand each other with a glance or a single word. I feel Adel Imam is my artistic twin, and audiences deeply loved our work together.

Your latest film, Gawaza Wala Gnaza, was screened in the RSIFF’s Arab Masterpieces programme. How do you choose your roles?
I read the entire screenplay, and I don’t concern myself with billing or the size of the role. What matters is that the audience believes me and that the work touches their hearts. I agreed to do the film after only a 12-minute conversation with director Amira Diab, her vision was sincere, and I felt an immediate sense of comfort with her.

Do you fear working with new directors?
On the contrary, I enjoy it. A new director gives the actor fresh energy and a different spirit. Osama Fawzy was making only his second film when I worked with him, and I won three awards because of that experience.

What about your bold experience with Atef El-Tayeb in Ded Al-Hokuma?
I was scared at first because he never said “Bravo,” and I thought he wasn’t satisfied with me. But when I asked him, he said, “As long as I say ‘Next shot,’ then the scene is right.” I learned so much from him, and I won 13 awards for the works I did with him.

And what was Youssef Chahine like as a director?
He adored actors. He paid incredible attention to the eyes and to the tiniest details. He made me learn crochet because the character required it, and he made me sit on the set before shooting so I could absorb the space. He was a true school in filmmaking.

Have you ever thought of retirement?
Never. As long as I can give, I will continue working. Acting is not a job for me, it is the pulse of life.

What role do you still dream of playing?
A woman undergoing a violent, inner psychological conflict, between strength and fragility. That kind of role brings out the best in me.

How do you see cinema today?
Every era has its language and tools, but truthfulness will always be the most important element, because the audience is incredibly perceptive.

What advice do you give young artists?
Learn well, don’t chase quick fame, and love art sincerely.

How do you maintain your positive energy?
Through contentment, through loving people, and by living simply, without envy or resentment.

When did you feel you were truly a star?
When I felt that the audience was waiting for me, trusting that I would never let them down.

The post Lebleba: Acting is pulse of life, I still have dreams to pursue first appeared on Dailynewsegypt.

At the Very Short Films Festival (VS-FILM), Abdel Baky appeared as if returning to his starting point—to the stage that shaped him, that he loved, and to which he has devoted his life. He never speaks of his career as “history,” but as a journey still unfolding, built more on discipline than luck, more on patience than applause. In this spirit, Abdel Baky sat down with Daily News Egypt for an in-depth conversation about his beginnings, his experiments, his artistic philosophy, and the deeper truth behind the laughter that gives audiences an extra breath of life.

Let’s begin with your journey in theatre. How do you describe those early years?

The truth is, theatre has always been my first home. I performed in nearly 80 amateur plays before joining the Higher Institute of Theatrical Arts. Those early experiments were the foundation of everything—teaching me discipline, respect for the stage, and a deep understanding of the audience.

And what was your first professional milestone on stage?

My first professional work was the play Khashab El-Ward. Then came Teatro Masr, which was a bold step and eventually paved the way for Masrah Masr, a format completely new to audiences: a one-hour show, fast-paced, light, and full of humour. The idea was inspired by the technological changes around us and the disappearance of many old artistic forms.

What was the core idea behind Masrah Masr’s format?

Plays used to last three hours or more. I thought: why not present a one-hour performance—light, improvisational, and built on teamwork?! The aim was to bring theatre closer to people, not the other way around.

Some initially objected to presenting theatre in this new form. How did you handle that?

Of course there was opposition—that’s normal when introducing something new. But the television broadcasts played a major role in bringing theatre into people’s homes. Once audiences saw the format, they embraced it. Thankfully, the experiment succeeded and created an entirely new generation of comedians.

Many people associate you with the Masrah Masr stars. Do you see yourself responsible for their current choices?

Not at all. I’m not anyone’s guardian. They are talented artists, fully responsible for their own decisions. That’s why I always ask audiences not to link me to any work they present today. Their projects are good, and from my perspective, they know exactly what they are doing.

Let’s move to cinema. How did your journey on the big screen begin?

It began in the late 1980s with Jahim Tahta Al-Ma’a, directed by the great Nader Galal. My very first scene was with the legendary Adel Adham—and I was terrified. I immediately felt the vast difference between theatre and cinema and thought, “Why is everything so exaggerated?” But that moment became a major turning point in my career.

You said during the seminar that an artist must evolve. How do you view this now?

An artist who doesn’t evolve simply stands still. You must constantly renew yourself, listen, and observe what’s happening around you. We cannot rely solely on past experiences and assume they are enough. We must always remain present and creatively fresh.

You recently moved into producing short films. What drew you to this field?

Short films offer extraordinary creative freedom. They’re not tied to market expectations or box-office pressures. I felt the new generation needed someone to encourage them—to offer a platform to express what they carry inside. I wanted to be part of that. And I truly discovered talents who deserve a real chance.

Do you believe short films can reshape Egyptian cinema?

Absolutely. The short film is the real laboratory of cinema. It is where future directors and writers are formed. My involvement in producing short films is an attempt to support that spirit. Cinema needs new blood and genuine passion—not just a camera.

What did your tribute from the VS-FILM Festival mean to you?

A tribute always carries great value, but what means even more is that it came from a young and innovative festival. I’m genuinely happy with the award from the festival’s second edition, as well as the honour from the Suez governorate. I thank everyone involved in the festival and the governorate for their sincere efforts to support cinema and the arts.

After all these years, how do you see your impact on today’s artistic landscape?

I believe the most important thing I’ve done is open the door for an entire generation of young artists. I supported their talent and introduced a new model of theatre. Success isn’t only in what you personally achieve—sometimes it lies in those who follow you and carry the path forward. And I’m extremely proud of that.

The post Ashraf Abdel Baky: Short films are future of cinema first appeared on Dailynewsegypt.

After the ceremony, he sat down for an exclusive conversation, opening up about the mentors who shaped him, the fears and victories along his path, and the roles that helped place him among the most influential actors of his generation.

Why did you dedicate the award to cinema workers?

Because they are the real backbone of the craft. We stand in front of the camera, but they work silently, tirelessly behind it. I felt it was my duty to say “thank you” through the award itself – they are genuine partners in the dream. I witnessed their dedication vividly during Al-Mohager, seeing the extraordinary effort that goes into every shot.

Going back to the beginning, which mentors shaped your artistic identity?

I am a student of many great teachers. I salute the legendary Hussein Fahmy and all my professors at the Higher Institute of Theatrical Arts. I also learned immensely from the late Mahmoud Yassin.

Director Ibrahim El-Sahen gave me my first major television role in Bawabet El Halawani, and Mohamed Abdel Aziz brought me into cinema with Laylat ‘Asal alongside Ezzat El Alaili and Soheir El Babli.

Then came Youssef Chahine – a defining chapter in my life. Chahine wasn’t merely a director; he was an inspiration. His brilliance lay in shaping the atmosphere for every scene and in seeing inside the actor what the actor himself had yet to discover.

I will never forget Farid Shawqi’s words when he said before a group of artists: “I bet on you from your first appearance in Bawabet El Halawani.” That was an enormous vote of confidence.

I also owe much to Enas El Degheidy. I was committed to a project with her, but when Chahine chose me for El-Mohager, she said: “Work with Youssef… he’s more important than me.” That is what true artistry looks like.

And then came Salah Abu Seif – my second film was with him, an experience I consider a milestone.

 What about your film roles? Let’s start with Ram in El-Mohager.

Ram is the dream — innocence facing the world. I studied him deeply because I felt great responsibility. Building him required sincerity and detachment.

Ali El Halawani in El Dealer was entirely different — daring and ambitious. Because language was central to the character, I studied Russian phrases at the Russian Cultural Centre and travelled to Ukraine to absorb the rhythm of the language. Real performance lives in details the audience may never notice but that make the character real.

In Al-Mowaten, made after the events of 11 September, my aim was to present the intelligent, insightful Arab — not the stereotype some wanted to impose.

My international experience with Ridley Scott in Kingdom of Heaven was pivotal. He gave me the chance to portray an Arab character with dignity. That mattered to me both personally and artistically.

 How do you prepare for your roles?

Through reading. I read the character hundreds of times. I read the entire script repeatedly. Reading breaks the barrier between me and the character. Study and research are the only path to authenticity.

 Moving to drama, what does Wahat Al-Ghoroub mean to you?

This project holds a special place in my heart. I spent three months with the great writer Bahaa Taher before filming to understand Mahmoud Abdel Zaher in depth. Director Kamla Abu Zekry treated the series like a film — meticulous, detailed. It felt as though we were building an entire world, not just a show.

 And in theatre, how did you approach portraying Sadat in Camp David?

At first, I refused. I didn’t feel I resembled President Anwar Sadat and feared it was the wrong choice. But director Molly Smith and writer Lawrence Wright insisted.

When I asked Smith why she was so sure, she said there was something Sadat and I shared: “pride, and the refusal to let anyone violate our dignity.”

Portraying a head of state on stage comes with enormous responsibility. You must convey presence — the audience must feel the weight of history. It was a major challenge but one that changed me deeply.

 What role are you preparing for now?

I’m working on the role of a women’s team coach — a character full of human depth and challenges. I’ll reveal more soon, but I feel it carries rich, meaningful content.

 How do you see the image of the Egyptian artist abroad?

As strong as our history. Egypt entered cinema before many countries, and that gives us both heritage and responsibility. When I work abroad, I carry my country’s name and culture with me. I always aim to present an image that is dignified and true.

I dream of the world once again placing full trust in Egyptian cinema — and of building a generation capable of competing internationally, one that doesn’t imitate but draws its power from its identity.

 How do you feel after such a journey?

Gratitude. Gratitude to everyone who believed in me, to every role that taught me something, and to every opportunity that offered a new lesson.

And the dream remains: that we continue to treat art as a responsibility, deliver it as a message, and always honour the history of the country that pioneered cinema in our region.

The post Khaled El Nabawy: I dedicate CIFF award to cinema workers – they are partners in dream first appeared on Dailynewsegypt.

The session, titled “Teen Cinema: The Power of Storytelling and Its Relation to Mental Health,” will take place from 2:00 PM to 3:30 PM at the Cairo Opera House’s Open-Air Theatre.

The panel will be moderated by Sally Zahni and will feature speakers Sehar Salah, Amr Salama, Basma Nabil, and Hamza Diab.

According to organisers, the event aims to bring together filmmakers, actors, and mental health experts alongside teenagers to explore how film and television can address the complex emotional world of adolescents.

The discussion is expected to cover topics such as identity, social pressure, and self-discovery, and how responsible storytelling can raise awareness about mental health while challenging stereotypes associated with young people. Panelists will also discuss the realism of on-screen drama compared to the real-life experiences of youth and the portrayal of Arab adolescents in cinema.

The session is designed to be an interactive space, allowing young attendees to share their perspectives. Organisers said the discussion will also highlight the role of cinema in fostering empathy between generations and providing a platform for adolescents to influence societal perceptions.

The post Filmmakers, experts to discuss teen mental health at Cairo festival panel first appeared on Dailynewsegypt.

A Festival with Expanding Horizons

In its most recent edition, the festival demonstrated broader ambitions, proving it is neither a temporary showcase for short films nor a fleeting cultural experiment. Instead, it has evolved into a comprehensive initiative interweaving cinema, tourism, and social consciousness. Central to this year’s vision is the launch of the Tourism Film Competition, an initiative spearheaded by Dr. Atef Abdel Latif, who recognised the festival’s potential to act as a dual bridge: strengthening the cinematic industry while simultaneously promoting Egyptian tourism.

Cinema as a Soft Power

Cinema today transcends its traditional role as an art form confined to theatres. It has become a form of soft power—able to narrate national identities, spotlight landscapes, and project cultural heritage to global audiences. The Tourism Film Competition embodies this potential. It invites young filmmakers to portray Egypt’s natural wonders, historic treasures, and human stories through short films designed to captivate and inspire travellers.

This initiative is more than symbolic. It represents a comprehensive vision strategically aligning cinematic creativity with national development goals. By screening films set in destinations such as Siwa Oasis, Saint Catherine’s mountains, or the Red Sea coastline, the festival allows audiences to rediscover Egypt through a cinematic lens—one that ignites both imagination and the desire for exploration.

The Vision of Dr. Abdel Latif

The Tourism Film Competition carries the distinctive imprint of Dr. Atef Abdel Latif, a long-time supporter of the festival with deep ties to Egypt’s tourism sector. By blending his professional expertise with cultural vision, Abdel Latif pioneered an initiative that demonstrates film festivals need not be limited to culture and entertainment alone.

His vision positions festivals as integrated national projects that open new pathways for development, stimulate economic growth, and showcase Egypt on the global cultural and touristic stage.

Empowering the Next Generation of Filmmakers

While introducing new initiatives, the festival remains committed to its founding mission: empowering young filmmakers who represent the future of Egyptian and Arab cinema. Beyond screening films, it offers dialogue platforms, professional workshops, and exchanges with critics and industry figures—avenues that allow emerging talents to refine their craft and build confidence.

This dedication to nurturing modest beginnings into meaningful cinematic achievements has earned recognition from both cultural institutions and tourism professionals, who increasingly view the festival as both a cultural forum and a promotional platform for Egypt.

Hurghada: A Natural Stage for Cinema

The decision to anchor the festival in Hurghada was deliberate. With pristine beaches, modern tourism infrastructure, and a year-round sunny climate, the city embodies the synergy of art and natural beauty that the festival celebrates.

By welcoming filmmakers, critics, and cinephiles from Egypt and abroad, Hurghada transforms into a cultural capital during the festival—fostering dialogue, enriching visitors, and benefiting the local community. Cinema becomes woven seamlessly into the city’s identity.

The Tourism Film Award

The Tourism Film Award is not a decorative addition but a strategic innovation. It challenges participants to creatively showcase Egypt’s landmarks while merging cinematic storytelling with tourism promotion.

This award encourages filmmakers to experiment with locations, techniques, and narrative perspectives. Judged by experts in both cinema and tourism, it guarantees professional rigour while carving out a unique intersection between culture and economy.

Awards and Recognition

The Hurghada Youth Film Festival honours artistic excellence and innovation through a diverse awards programme, including:

Best Short Fiction Film

Best Documentary Film

Best Animation Film

Audience Award

The Green Award for environmental cinema, underlining the festival’s ecological commitment since its inception

The Tourism Film Award, a pioneering category conceptualised by Dr. Atef Abdel Latif, merging cinematic artistry with tourism promotion

Together, these awards reflect the festival’s determination to expand cinematic horizons while engaging broader cultural, social, and national themes.

Regional and Global Reach

The festival’s resonance extends beyond Egypt. With the Tourism Film Award, it is set to attract filmmakers from across the Arab world and internationally—enhancing Egypt’s reputation as a hub for cultural dialogue and collaboration. This opens opportunities for co-productions and reinforces Egypt’s identity as a destination where art, history, and natural beauty converge.

Looking Ahead

With each edition, the Hurghada Youth Film Festival reaffirms that it is more than an annual cultural event. It is a dynamic project that evolves continuously, integrating youthful vision with a strong sense of place. Whether through awards, workshops, or visionary initiatives such as the Tourism Film Competition, it charts a path for the future of cultural engagement.

From the shores of the Red Sea, the festival sends a powerful message: cinema is not only an art of storytelling but also a transformative force—a soft power that can promote tourism, drive development, and reflect Egypt’s enduring beauty on the world stage.

The post Hurghada Youth Film Festival: Where cinema meets tourism, cultural identity first appeared on Dailynewsegypt.

What did it mean to you to chair the jury at the Hollywood Arab Film Festival?

It was a mix of pride and responsibility. Being invited to preside over a jury in the heart of Hollywood—the world’s cinema capital—wasn’t just an honor for me, but for Arab cinema. It felt like we’ve moved beyond simply submitting our films to global festivals; we’re now contributing to the conversation and shaping standards.

What was your impression of the films in competition?

I was truly impressed. The films showed maturity, boldness, and a fearless approach to storytelling. They tackled taboos and reflected reality with strong cinematic tools. Some of them hit me hard, like a mirror reflecting both our dreams and our wounds—not just stories, but statements.

Was this experience different from judging at Arab festivals?

Absolutely. At Arab festivals, I’m on familiar ground—I understand the audience and cultural nuances. But in Hollywood, the challenge was greater: to stay rooted in my identity while engaging with a global lens. I wasn’t just an artist there—I was representing the Arab woman, the intellectual, the cinematic voice.

Was there a specific moment that moved you during the festival?

Yes, during the screening of a short Palestinian film. The standing ovation lasted over two minutes. It wasn’t just applause—it was recognition of a cause, a collective grief, and a glimmer of hope. That’s the power of art—it can say what politics never can. One truthful image can shift perception.

What stood out to you about the young filmmakers there?

Many were Arab students of cinema in the US. Their films were fresh, passionate, and deeply connected to identity. The dialogues around them were thoughtful, and the festival became a bridge—linking communities and reconnecting generations with their cultural roots.

Do you feel festivals like this can truly support Arab cinema?

It’s a step forward. It’s not enough for our films to be screened—they must be understood, critiqued, and appreciated. The Hollywood Arab Film Festival is a platform for cultural dialogue, not just recognition. We don’t need flattery—we need real engagement.

How would you describe this stage of your artistic journey?

I’m more at peace, but the fire still burns. I watch everything, I get excited about new talents, and I still want to make a difference—even with a word, a gesture, or being part of a sincere festival. That’s how I stay alive in art—not just alive.

You had two major roles this Ramadan. How did the audience respond?

I was in the TV drama Seed El-Nass and the radio series “El-Giran Liba’daha.” Each came with its own challenge. In Seed El-Nass, I played a controversial character. “El-Giran Liba’daha” marked my return to radio after more than 20 years—it felt like coming home.

Let’s talk about Etemad El-Hawary in Seed El-Nass. The character sparked strong reactions.

I despised that character more than any I’ve ever played. She was mentally unwell, full of inner scars, forced into early marriage, deprived of education, and humiliated throughout her life. That bred bitterness. But from an acting standpoint, she was a goldmine—full of layers and challenges. That’s what any real actor lives for.

Some critics found her emotional outbursts and loudness excessive. Your take?

That loudness was a mask—her weakness trying to pose as strength. She was broken inside, desperate for attention. Even her eccentric clothes and jewelry weren’t vanity—they were a cry for acknowledgment.

Did you consult psychologists while preparing for the role?

No need. Etemad exists in our reality. I’ve seen her in the streets, in communities. With my life experience and years of acting, I drew on real people I’ve encountered and built her from there.

Weren’t you afraid the audience would hate her?

Not at all. That’s the sign of success. When the love I’ve earned through past roles turns into glares on the street, I know I’ve done something right. They’re not hating me—they’re hating the truth in the performance.

You’ve often played mothers—even to older actors. Was that ever awkward?

Never. I played Hussein Fahmy’s mother in “Al Embrator” and Hisham Selim’s in “Al Harafeesh,” and I never hesitated. I’m not chasing the stereotype of the glamorous heroine. I seek the soul of the character. Acting is a love affair—not a status ladder.

What pulled you back into radio after such a long hiatus?

The script. “El-Giran Liba’daha” is a soul-stirring work, centered on values like love, forgiveness, and solidarity. It’s presented with gentle simplicity, and that kind of depth always draws me in.

What’s your take on the rise of 15-episode series?

I prefer them. They’re more focused, more authentic. Unlike 30-episode series, which sometimes stretch too thin, these feel tighter and more honest. And frankly, 20-hour filming days? That’s brutal—it’s not humane.

Finally—where is Elham Shahin heading next?

Wherever the truth is. To cinema that dares to question. To festivals that recognize talent, not fame. To films that confront rather than flatter. And to an audience that understands art isn’t a luxury—it’s a necessity.

The post My heart never left cinema: Elham Shahin first appeared on Dailynewsegypt.

One of the films that garnered significant attention was “Why Live It Solo?!” (Lih Ta’eesha Luwahadak), starring Sherif Mounir and Khaled El Sawy. The film explored the complexities of human relationships with emotional depth, but its midsection felt slow, leading to a dip in audience engagement.

“My Cousin and I” (Ana We Ibn Khalty), featuring Bayoumi Fouad and Sayed Ragab, was a light comedy that, while entertaining in the moment, lacked depth, failing to leave a lasting impression. In contrast, “Azima’s Gang” (‘Usbah ‘Azima) offered a family-friendly atmosphere with strong performances by Esaad Younes and Farah El-Zahed, though some scenes felt repetitive and unnecessary.

The drama “The Alexandrian” (Al-Iskandarani), led by Ahmed El Awady and Zeina, demonstrated greater maturity and showcased impressive acting. However, its subplots occasionally dragged, detracting from the overall impact. Similarly, “El Hareefa: Part1” attracted attention for its youthful cast, including Nour Ehab and Nour Nabawy, and its exploration of issues relevant to younger audiences. However, its open-ended conclusion seemed like a deliberate setup for a sequel, which some viewers found excessive.

In the dramatic realm, “Maqsoom”, starring Leila Aloui and Sherine Reda, offered some notable emotional depth but fell into familiar social-film clichés. Meanwhile, “Al-Malika”, directed by Hala Sedki, allowed her acting skills to shine, though the film lacked surprise, making it predictable at times.

Thrillers and suspense films also marked a high point for Egyptian cinema in 2024. “Flight 404” (Rihlat 404), featuring Mona Zaki, was a standout in the genre, keeping viewers on the edge of their seats. However, some scenes could have been trimmed for pacing. On the darker side, “Adel Mesh Adel” relied on dark comedy but struggled with an uneven rhythm that occasionally interrupted its flow.

Social commentary remained a strong theme this year, with “Eid Night” (Laylat al-‘Eid) tackling complex societal issues through a compelling performance by Yousra. However, its rushed conclusion left certain plotlines underdeveloped. “A Nose and Three Eyes” (Anf wa Thalath ‘Uyun), starring Dhafer L’Abidine, was a stylish romantic drama that unfortunately lacked the emotional depth necessary to make its central conflicts resonate.

In the realm of experimental cinema, “The Mexican Experience” (El Tagroba el Mexicia), presented by Amr Abdel Gelil, mixed comedy with suspense in an interesting way, although some comedic moments felt forced. In contrast, “The System” explored technology and its impact on society, featuring solid performances by Tarek Lotfy and Ahmed El Fishawy, though it could have benefited from a more dynamic script.

In the action genre, “His Bro” (Shako), starring Amr Youssef and Mohamed Mamdouh, was a fast-paced thriller that balanced excitement with emotional depth. However, it leaned too heavily on action sequences, leaving little room for character development. Meanwhile, “A Break of Delightful Moments” (Faṣl min al-Laḥẓāt al-Laḏīḏah) offered a lighthearted mix of comedy and romance, buoyed by the charming chemistry between Hisham Magdy and Hana El Zahed.

Patriotic drama “Al-Sarb” allowed Ahmed El Sakka to deliver one of his most powerful performances of the year, blending national pride with poignant drama, although certain moments veered into over-exaggeration. On the other hand, “Tani Tani”, directed by Ghada Abdel Razek, engaged with social themes but left audiences pondering an open ending that some felt was too vague.

Among film series, “Wulad Rizq 3: Al-Qāḍiyah” proved to be a solid continuation of the franchise, featuring strong performances by Ahmed Ezz and Amr Youssef. However, certain action scenes were drawn out unnecessarily. Meanwhile, “Playing with the Kids” (Al-La‘b ma‘ al-‘Iyal), starring Mohamed Imam, was a lighthearted comedy that failed to make the same impact as other films in the genre. Khaled El Nabawy’s “People of the Cave” (Ahl al-Kahf) presented a fascinating historical narrative, though its slow pacing hampered its overall effect.

Romantic comedies were also popular, with “Toxic Marriage” (Gawaza Toxic) and “ My Wifes X” (‘X Merati) leading the charge. Laila Elwi and Bayoumi Fouad brought charm to “Toxic Marriage,” while Hesham Magdy and Amina Khalil contributed to the fun in “Ex-Wife”. However, both films lacked significant innovation and relied on familiar tropes.

As 2024 drew to a close, films like “Al-Hareefa 2: The Remontada” sought to capitalize on the success of their predecessors, though the intertwining storylines felt overly complex. “A Few Hours on a Certain Day” (Bid’a sa’āt fi yawm mā) offered a heartfelt romantic approach but suffered from a lack of narrative coherence. Finally, “Last Moment” (Akher Lahza), starring Basma, delivered a strong performance, but its conventional ending left little room for surprise.

In sum, 2024 marked a year of significant experimentation and growth for Egyptian cinema. While not every film was a hit, the diversity in themes and genres signaled a promising future for the industry. Though storytelling and pacing issues persisted in several works, the year represented a vital step in revitalizing Egyptian cinema’s global stature.

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Global icons such as Will Smith, Johnny Depp, and Michael Douglas graced the red carpet, amplifying the festival’s international prestige. Renowned director Spike Lee, who chaired the jury, praised the event’s celebration of global storytelling, emphasizing the importance of amplifying voices from diverse cultures. “Cinema allows us to share stories that deserve to be heard and seen,” he remarked, expressing pride in overseeing a competition that featured 16 films representing myriad cultures and experiences.

The festival’s top honor, the Golden Crescent for Best Feature Film, was awarded to the Tunisian film The Red Sons by Lotfi Achour. The film’s distinctive visual storytelling and humanistic narrative earned acclaim. Achour also received the Best Director award, further highlighting his ability to explore universal themes with profound sensitivity.

The Silver Crescent for Best Feature went to the Palestinian film To an Unknown Land by Mahdi Fleifel, which skillfully tackled themes of identity and alienation. The film’s lead actor, Mahmoud Bakri, won Best Actor for his emotionally rich performance. Meanwhile, Mariam Sharif’s portrayal in the Egyptian film Snow White earned her the Best Actress award, shining a spotlight on the experiences of people of short stature.

Other notable accolades included the Best Screenplay award, given to Iraqi writer Adi Rashid for Adam’s Hymns, a thought-provoking script exploring existential questions. Egyptian director Khaled Mansour received the Jury Prize for Searching for an Exit for Mr. Rambo, a vivid portrayal of Cairo’s vibrancy.

In the short film category, Hatching won the Golden Crescent for its gripping and impactful storytelling, while The Absentee secured the Silver Crescent despite the director’s absence from the ceremony. The documentary category saw A State of Silence take the Eastern Award for its bold themes and powerful visuals. The Audience Award for Best International Film went to Little Jaffna, celebrated for its emotional resonance and relatability.

Despite its successes, the festival faced notable challenges. Local community engagement fell short of expectations, with limited outreach to broader audiences. Additionally, logistical issues with ticketing disrupted access to key screenings. Observers also noted a reduced representation of Arab films in the official competition compared to international entries, prompting calls for greater emphasis on regional productions.

The Red Sea International Film Festival continues to be a beacon for Arab and global cinema. By combining high-quality programming with a global reach, it provides filmmakers with a vital platform to exchange cultures and share authentic stories. This year’s awards underscored the festival’s commitment to creativity and its mission to empower diverse cinematic voices.

Addressing the challenges identified this year will be crucial for the festival’s continued growth. By strengthening its local engagement, refining logistical operations, and enhancing the presence of regional productions, the Red Sea Film Festival can further solidify its position as a premier global event—a true celebration of cinema’s universal power.

The post A Review of Red Sea Film Festival 2024 first appeared on Dailynewsegypt.

Kapoor, a prominent figure in Indian cinema with a decades-long career, shared her perspective on the elements that contribute to a successful film. “For a film to succeed, it must inspire and evoke emotions. Whether through powerful storytelling, thrilling action, or unforgettable music, the magic lies in its ability to move you,” she said. Kapoor emphasised that Bollywood films are more than just entertainment; they are transformative experiences that forge deep connections with audiences. She highlighted the importance of creating emotional resonance as a key factor in Bollywood’s enduring appeal.

Yeoh, reflecting on her career and upcoming role in Wicked, passionately advocated for greater equality for women in Hollywood. “I’ve worked hard to shatter the glass ceiling, and now we’re seeing the beginnings of change,” she stated. She noted the increasing diversity within the industry, with more women working behind the camera and a wider range of stories being told. However, she also addressed the stereotypical roles often assigned to Asian women, urging Hollywood to “open the doors and allow us to prove ourselves.” Yeoh described Wicked as a powerful cinematic experience exploring themes of self-discovery and challenging societal norms.

Yeoh also praised the Red Sea International Film Festival for the opportunities it provides, commending Saudi Arabia’s efforts to promote diversity and collaboration in global cinema.

Both Kapoor and Yeoh’s seminars highlighted their dedication to cinema as a transformative art form. The discussions underscored the festival’s role in facilitating meaningful dialogue and collaboration among filmmakers globally. From Kapoor’s insights into the heart of Bollywood to Yeoh’s call for greater gender equality in Hollywood, the seminars provided a rich and thought-provoking exploration of the art of filmmaking and its societal impact.

The post Bollywood, Hollywood stars discuss cinema’s power at Red Sea Film Festival first appeared on Dailynewsegypt.