
Arab Drama Critics' Awards (ADCA) Announces Results of the Fourth Edition for 2024 Drama Works
After a full year of work and evaluation of all the dramatic series that aired in 2024 across the Arab world, the management of the Arab Drama Critics Awards (ADCA) announced the results of the voting by senior critics in Egypt and the Arab world for the fourth edition of drama series in 2024.
* First: Evaluation Awards for Egyptian Series:
- Best Actor: Eyad Nassar - "Silat Rahim"
- Best Actress: Salma Abu Deif - "Ala Nesbet Moshahda"
- Best Director: Islam Khairy - "Gawdar"
- Best Screenplay: Mohamed Hisham Abeya - "Silat Rahim"
- Best Series: "Silat Rahim"
- Best Actress in a Comic Role: Dina El Sherbiny - "Kamel El Adad +1"
- Best Actor in a Comic Role: Hisham Magdy - "Ashghal Shaqa"
- Best Comedy Series: "Ashghal Shaqa"
- Best Supporting Actress: Entisar - "Ala Nesbet Moshahda"
- Best Supporting Actor: Ahmed Eid - "Al-Hashashin"
- Best Young Actress: Nora Abdel Rahman - "Silat Rahim"
- Best Young Actor: Ahmed Abdel Wahab - "Al-Hashashin"
- Best Child Actor: Selim Youssef - "Bila Sabiq Inzar"
- Best Song: "El Donya Mashya Trends" - Bousy - "Ala Nesbet Moshahda"
- Best Original Score: Amin Abu Hafa - "Al-Hashashin"
- Best Cinematography: Hussein Asar - "Al-Hashashin"
- Best Editing: Salem Darbas - "Silat Rahim"
- Best Sound Engineer: Hassan El-Fallah - "Silat Rahim"
- Best Set Design: Ahmed Fayez - "Al-Hashashin"
- Best Costumes: Christina Amir- "Al-Hashashin"
- Best Makeup: Ahmed Mostafa - "Al-Hashashin"
- Best Hairstyling: Hitham Dahb - "Silat Rahim"
- Best Dramatic Scene by an Actor: Karim Abdel Aziz - Scene of Confusion and Dementia before the Death of Hassan Al-Sabah - "Al-Hashashin"
- Best Dramatic Scene by an Actress: Mirna Nour El-Din - Scene of the Son's Murder - "Al-Hashashin"
- Best Comic Scene by an Actress: Dina El Sherbiny - Dance Scene - "Kamel El Adad +1"
- Best Comic Scene by an Actor: Hisham Magdy and Mustafa Gharib - Liver Eating Scene - "Ashghal Shaqa"
*Second: Evaluation Awards for Arab Works:**
- Best Non-Egyptian Series: "Taj"
- Best Non-Egyptian Actor: Bassam Kousa - "Taj"
- Best Non-Egyptian Actress: Carmen Lebbos - 2024
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Al-Ahram Weekly
2 hours ago
- Al-Ahram Weekly
Inaugural edition of Port Said Film Festival accepts submissions to screenwriting workshop - Screens - Arts & Culture
The management of the Port Said International Film Festival, headed by film critic Ahmed Assar, announced that it would organise a specialised workshop in screenwriting within the festival's first edition from 18 to 22 September 2025. Led by screenwriter Nasser Abdel-Rahman, the workshop, held for two days during the festival, aims to refine the skills of young writers and allow them to benefit from the expertise of renowned screenwriters in Egypt and the Arab world. Interested scriptwriters can apply via this link. The workshop will focus on three main pillars of screenwriting: the idea, the story, and the cinematic treatment. It will also cover character development and conclude with an exploration of time in cinema and how it can be used to support dramatic structure. Screenwriter Abdel-Rahman won the Locarno Festival Award for the film Al-Madina (The City, 2000) and the Best Screenplay Award from the Oran Festival in Algeria for the film Genainat El-Asmak (Fish Garden, 2008). Many of his other films were nominated for several international awards. Among his other scripts were those of Dokkan Shehata (2009), Chaos, This Is (2007), Granoita (2001), TV series Gabal Al-Halal (2014), El-Dawly (2018), and Settohom (2023). The Port Said International Film Festival is a new film festival launching in Port Said, Egypt, from 18 to 22 September. It is named in honour of the late Egyptian actor Mahmoud Yassin and will feature Egyptian and international films alongside workshops, seminars, and panel discussions. The festival is organised under the patronage of the Governor of Port Said and the Minister of Culture. Film critic Ahmed Assar serves as its president Follow us on: Facebook Instagram Whatsapp Short link:


Al-Ahram Weekly
6 hours ago
- Al-Ahram Weekly
Sameh Abdel-Aziz (1976-2025): Gone too soon
To the shock of his friends and colleagues, the Egyptian director Sameh Abdel-Aziz passed away last Thursday at the age of 49. He had been briefly hospitalised with a sudden health issue. Social media was filled with touching tributes. Abdel-Aziz was born in Cairo in 1976, and graduated from the High Cinema Institute's editing department in 1996. He started his career directing television programmes in the Egyptian National Television and moved to the Dream private television channel where he directed shows like Gana Al-Hawa and Al-Hawa Hawana (named after love songs by Abdel-Halim Hafez) while Hala Sarhan was president. He even moved along with Sarhan to Rotana TV, directing music videos. Only later did he shift to filmmaking. His debut feature film was Dars Khosousi (A Private Lesson, 2005), with the Star Academy winner Mohamed Attia. He also directed the film Assad wi Arbaa Qotat (A Lion and Four Cats, 2007), starring Hani Ramzi and the Four Cats. He collaborated with screenwriter Ahmed Abdallah on two films: Cabaret (2008), starring Fathi Abdel-Wahab, Khaled Al-Sawi, Ahmed Bedeir and Donia Samir Ghanem; Al-Farah (The Wedding, 2009), starring Khaled Al-Sawi, Donia Samir Ghanem, Joumana Mourad, Yasser Galal, Bassem Samra and Maged Al-Kedwani. The latter had an original and distinctive plot in which Zeinhom (played by Al-Sawi) holds a fake wedding party for his supposed sister so that he can collect money through the Egyptian tradition of noqta (wedding attendees giving the bride money to help with the expenses, which the bride's family will presumably return when it is time for their respective weddings), so that he can buy a microbus. The wedding turns into a condolence ceremony when his mother unexpectedly dies. Abdel-Aziz joined forces with comedy star Mohamed Heneidi in various productions on the silver screen: Teta Rahiba (My Tough Grandmother, 2012), starring the late veteran actress Samiha Ayoub, Bassem Samra, Donia Samir Ghanem and Mohamed Farrag with a screenplay by Youssef Maati; Monsieur Ramadan Mabrouk Abul-Alamein Hamouda (2011), starring Nesrine Imam, Karima Mukhtar, Laila Taher and Nihal Anbar with another screenplay by Maati; Ard Al-Nifaq (Land of Hypocrisy, 2018), starring Dalal Abdel-Aziz, Hana Shiha, Mohamed Tharwat and Salwa Mohamed Ali; and – last Ramadan – Shehadet Moamlet Atfal (Child Treatment Certificate, 2025), starring Sabri Fawaz, Sama Ibrahim, Noha Abdeen and Walid Fawaz. On the silver screen, Abdel-Aziz directed Sarkhet Namla (An Ant's Cry, 2011), a political comedy about a slum dweller named Gouda who works for a corrupt member of parliament, starring Amr Abdel-Geleil, Rania Youssef, Ahmed Wafik, Sayed Ragab and Hamdi Ahmed with a screenplay by Tarek Abdel-Geleil. In 2013, Abdel-Aziz joined forces with Mohamed Saad in the comedy Tatah and a year later he directed Viva Atatta where Saad starred alongside Amy Samir Ghanem, Sami Al-Adl, Abdel-Rahman Abu-Zahra and Ahmed Fathi. In 2014 he directed Halawet Rouh (Rouh's Beauty), starring Lebanese singer Haifaa Wahbi with Bassem Samra, Mohamed Lotfi and Salah Abdallah. One of his more remarkable works was the comedy Hamlet Freezer (Freezer Mission, 2016), starring Hisham Maged, Shiko, Bayoumi Fouad, Nesrin Amin and Darin Haddad. The film follows a group of intelligence officers who travel to Italy as a film crew to collect information on how to stop the frost after Egypt climate changes and it turns into a cold country. With a screenplay by Walaa Sherif in collaboration with the two actors Hisham Maged and Shiko. In television he collaborated with megastar Youssra in Kheyanet Ahd (Betrayal of a Covenant), where she starred alongside with Hala Shiha, Abeer Sabri and Bayoumi Fouad in 2020, and a year later in Harb Ahleya (Civil War), starring Bassel Khayat, Gamila Awad, Arwa Gouda and Cynthia Khalifeh. His most recent work for the silver screen were the two 2014 comedies Al-Malika (The Queen), starring Sherine Reda, Rania Youssef, Bassem Samra and Hala Sedki and Leilet Al-Eid (The Eid Night), starring Youssra, Sayed Ragab, Reham Abdel-Ghaffour, Youssra Al-Louzi, Naglaa Badr and Ahmed Khaled Saleh with a screenplay by Ahmed Abdallah as well as the film Al-Dashash (2025), starring Mohamed Saad, Zeina, Bassem Samra, and Khaled Al-Sawy. He is survived by his wife the media figure Dalia Farag. He was married to the singer and actress Roubi for two years and they had a daughter together. * A version of this article appears in print in the 17 July, 2025 edition of Al-Ahram Weekly Follow us on: Facebook Instagram Whatsapp Short link:


CairoScene
15 hours ago
- CairoScene
How a Casual Feed Turned Meshary AlNassar Into a Studio Founder
How a Casual Feed Turned Meshary AlNassar Into a Studio Founder Meshary AlNassar is part of a new generation of Gulf designers reshaping regional narratives through architecture, interiors, and objects that prioritise emotion over ego. When you open the gate to The Jewel, one of Studio Meshary AlNassar's (SMN) residential projects in Dubai, the first thing you notice isn't the architecture, it's the space between things. The rough stone underfoot. The soft crunch of gravel. The narrow passage, that opens into a courtyard framed by two clean volumes and a soaring cylindrical tower of stacked glass blocks. At the centre, a long table sits under a canopy of string lights. It feels both intentional and entirely unforced, like the house grew around the life it now holds. This balance of structure and softness, of geometry and ease, is where designer Meshary AlNassar does his best work. Born and raised in Kuwait's scaffolding of ambition, AlNassar's childhood unfolded amidst the dust and dreams of construction sites. His family's world was all concrete and enterprise, yet young AlNassar sensed a deeper pull. 'I loved the alchemy,' he recalls. "I loved the thought of turning an idea into something people could experience.' This instinct was nurtured within walls built by his grandfather- a man who understood architecture as legacy. A home where each family claimed a floor, balconies embraced a shared courtyard, and windows framed intimate narratives. Here, AlNassar learned to read the linguistics of space; how light sculpted mood, how a hallway pulls you in, how movement became poetry. It was his first cinema. His destiny, almost. Years honed that instinct. Dubai's architecture schools provided theory, but his true studio bloomed online. As a student, he transformed Instagram into a second studio- sharing designs, musings, life. Unpolished posts became unexpected cornerstones. 'That transparency built trust,' AlNassar tells SceneHome. 'Many of those followers became my first clients once I graduated.' In 2018, he opened SMN Studio with no strategy decks. Just a rented space and a vision. It filled fast. 'There's a certain superpower in manifesting your vision and watching it come to life.' This became his crucible for challenging traditions: redefining Arab masculinity in design, proving profitability could walk hand-in-hand with artistry in the region. 'I began to challenge traditional notions, especially what it means to be a male designer from the Arab world, and what it means to run a profitable design business in the region,' AlNassar says. AlNassar's approach is storytelling steeped in ancestral memory. The shared courtyard of his youth - a stage for domestic theatre - imbues his work with emotional architecture. Whether crafting a sanctuary for an Arab art collector or reimagining tradition for a Khaleeji couple, AlNassar begins by listening. His international arrival came with the 410 Collection, a personal homage wrapped in poetic detail. Three stone light sculptures, carved with monastic restraint, overflowing with heritage. Their forms echo trees from his grandfather's garden; the number, his grandfather's first license plate. Mere nostalgia, claiming architecture as inheritance. 'It told a story,' AlNassar says. 'This collection was my way to tell a story, but to prove my point that Middle Eastern and Arab designers are able to compete on the international stage - and I think I've made my point very clear.' Flash holds no allure. AlNassar's power lies in the quiet resonance. 'Opulence, to me, isn't about gold finishes or grand gestures. It's about curation, storytelling, and soul.' Even a sterile clinic, bound by antiseptic surfaces and harsh regulations, became sacred under his touch. 'We managed to beautify a clinic in a way that feels so much like an intimate home.' Today, SMN Studio is a living ecosystem - part design atelier, part product lab, part sandbox of possibility. Alongside collaborator Mishari AlAwadhi, AlNassar crafts 'layers for a space,' answering a yearning for pieces untouched by trends or mass production. His process is a deliberate ritual: silence first, allowing the space itself to speak. Sketches emerge on floor plans. Reality checks spark conversation. Creation begins. 'There's a yearning for good quality products that aren't following a trend or are mass produced.' His process starts in silence. No rushing. No assumptions. 'I take my time being in the space to allow the imagination to flow. Then I sketch on the floor plan. Then I get the reality check from the team. And that's when the real conversations start.'