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Al-Ahram Weekly
5 days ago
- Entertainment
- Al-Ahram Weekly
Bringing heritage to life through film - Focus - Al-Ahram Weekly
Cinema has always been a medium in which history comes to life — explaining why different initiatives have been using cinema to raise awareness of Alexandria's tangible and intangible heritage. The concept of sharing knowledge with the community is a very old one, and, if done correctly, allows the public to be part of protecting heritage and even historical sites, especially after they have learned how valuable they are. So why not do this in a fun way? Cinema can open the door to heritage protection in a romantic way and be a major tool in documenting history. Films are looked upon as historical references, and cinema's world of imagination, colour, and nostalgia can combine for a greater purpose: to cherish and protect our history. Egypt's cinema industry was once the third largest in the world, with only Hollywood and Bollywood being ahead of it. Though Cairo's film studios later buzzed with legends such as Omar Sharif and Faten Hamama, the soul of the movement had its roots in Alexandria. Just months after creating their early cinématographe in Paris at the end of the 19th century, the French Lumière brothers brought it to Egypt. In November 1896, for the first time ever in Egypt, moving images danced across a screen at the Zawani café in Alexandria. 'Alexandria, a city already accustomed to cosmopolitan wonders, embraced the new art form without hesitation. The Lumière brothers opened Egypt's first permanent cinema hall, again choosing Alexandria,' a book on the period states. In 1952, Cinema Amir owned by 20th Century Fox, opened its doors in Alexandria. With seating for over 1,200 people and state-of-the-art equipment, it quickly became a cornerstone of Alexandria's cultural life. Just a few steps away stood Cinema Metro, once operated by MGM, and Cinema Royale, tied to Universal Studios. The 1960s later brought change to the industry, with nationalisation altering domestic production and the urban landscape being transformed. Slowly, the magic dimmed, and film theatres lost their luster. Some closed, while others survived, if only just. Yet, the memory of what cinema once meant to Alexandria never disappeared. In 1979, the Alexandria International Film Festival began, and more recently the Alexandria Short Film Festival has given creators a platform from which to speak. Moreover, the city hosts the EU Film Festival and the Iberoamerican Film Festival, keeping the reels spinning and stories alive. The French expression mise en scène literally translates as 'setting the stage', including the arrangement of actors in theatre or film. The 'Mise en Scène' project founded by Mohamed Hamdi, a graphic artist and exhibition curator, carries the same meaning and involves setting the stage of Alexandria, arranging different scenes from different times, be it from film, theatre or daily life, all of them aiming to document and cherish the history of the city. An important aspect of the project highlights the role of cinema in preserving Alexandria's heritage. Films can show a landmark that may no longer be there in fact, but they do not just document what a place used to look like, a building that was demolished, or how people used to dress at a specific time. 'For instance, if a film was produced in 1930, showing the corniche of Downtown Alexandria at that time, it likely also shows how the coastline appeared 20 or 30 years before then,' Hamdi said. In 2021, Hamdi launched the first edition of Mise en Scène aiming to document Alexandria through cinema. The first edition focused on the architecture of the city, raising awareness by connecting people with scenes in films and creating a nostalgic bond. For example, someone might see a scene from an old film of a beach where he spent his childhood, with the beach and the buildings in the area surrounding it perhaps no longer there. 'Maybe a couple of old buildings are still standing, but they are in bad shape. Watching this scene in a film connects the viewer with his childhood memories, and it also creates a sense of responsibility towards what is left. In an indirect manner, the audience becomes attached to history,' Hamdi said. 'They start to stop, take a second look and admire where they are walking, and see the gems around each corner. In a fast-paced era when no one is attached to anything except for a couple of minutes, this project aims to make people slow down and actually look at their environment,' he added. ALEXANDRIA CINEMA: Since 1920, around 408 films have been made in Alexandria. 'This number includes films that were filmed in the city and also scenes that portray Alexandria,' said Hazem Al-Attar, a film director. In the Raml district only a couple of streets from the Misr Railway Station stands the unmistakable statue of Egyptian independence leader Saad Zaghloul on the right of the iconic Cecil Hotel, one of Alexandria's architectural beauties. Originally one of Cleopatra's Needles, an ancient Egyptian obelisk, stood on this Square, but it was gifted to the US in 1877. Just a couple of blocks away stands the charming English-style Trianon Café, dating back to 1905. Al-Attar recalls the statue of Zaghloul appearing in the 1969 film Miramar starring Shadia and other prominent actors. One of the scenes in the film portrays actors Youssef Wahbi and Emad Hamdi sitting in the Trianon drinking tea, with the statue of Zaghloul in the background. 'This simple scene is enough to draw attention to this landmark without even intending to do so. The audience often ask where the actors were sitting and if the statue is still there. They want to know how old it is, and this can create an unconscious sense of responsibility towards historic landmarks,' Al-Attar said. For Hamdi, the project is about 'creating a sense of belonging through nostalgia. People are naturally drawn to their past, childhood memories, or the first time their heart skipped a beat,' he said. However, it is more focused on the intangible aspect of heritage, rather than tangible historic landmarks. It aims to document how people used to dress, their dialogue, their morning and evening habits, and their daily lives. Another film set in Alexandria, this time with Laila Mourad, Anwar Wagdi, and Naguib Al-Rihani, is Ghazal Al-Banat made in 1949. It includes some of Mourad's most celebrated songs, among them Etmakhtari ya Kheil which features the actress and her friends riding horses in the gardens of the Montazah Palace. Sadly, many of the trees in this scene are no longer there. In the 1961 film Fi Baytna Ragul (There's a Man in our House) starring Omar Sharif and Roshdi Abaza there are unforgettable scenes of the streets of Cairo and the house where most of it was filmed. Many people want to see this house today. The villa where Ahmed Mazhar resided in Doaa Al-Karawan (The Nightingale's Call, 1959) still exists and is an attraction today, though the film is more than 60 years old. Al-Attar recalls his passion for cinema and filmmaking, saying that his grandfather Ibrahim al-Attar owned two cinemas in Kafr Al-Dawar 30 km from Alexandria named the Cinema Al-Ettihad and the Cinema Al-Shaab. 'Al-Shaab offered low ticket prices, while Al-Ettihad was more luxurious. Both included cultural activities and not just film shows,' he said. Unfortunately, both cinemas were demolished in the 1980s. Al-Attar is also the co-founder of the Heritage and Generation (Turathna wal Agyal) initiative that focuses on bringing history and heritage to children and young people. It does so by providing filmmaking workshops and theatre shows with a focus on presenting heritage in a simple and fun way. The aim is to offer an unforgettable experience for children, who can wear the costumes of each era and get a real feel of what daily life was like at the time. It uses the different gardens in Alexandria — the Antoniados Gardens present the ancient Greek era, while the Montazah Gardens are the perfect stage for the Mohamed Ali era and the modern history of Egypt. Al-Attar is currently working on a collaboration with the National Museum of Egyptian Civilisation (NMEC) in Cairo to present the first ever interactive historical narrative event for children, including fashion shows and filmmaking workshops. ENGAGEMENT: Hamdi has tried to engage the public by simply showing people pictures of old films portraying Alexandria, be it a scene from a beach that is no longer there or an ice cream cart that used to pass by a particular neighbourhood. 'The aim is to create a heartwarming experience that naturally occurs when someone has a familiar feeling relating to a happy memory. This can eventually lead to a sense of responsibility towards preserving what is left of old landmarks, even if it comes down to just small pieces,' he said. 'Through the engagement with old films, people become more aware of their own identity, which serves the intangible aspect of heritage. Films do not just document what buildings and streets used to look like. They provide proof of how people used to dress and the fashion style of each generation,' Hamdi explains. Several other projects are being held in Alexandria to help preserve and document the city's heritage. They include the annual Alexandria Heritage Days organised by the Centre d'Etudes Alexandrines (CeAlex). The latest edition took place last November and marked the event's 15th anniversary. This May, the centre announced an open call for participants who would like to be part of the upcoming event this year, and it is hoped that this will encourage even more public engagement. The Alexandria Heritage Days consist of a series of exhibitions, seminars, and concerts held in cultural centres, museums, or cafés and restaurants, which gives the public the chance to learn about the heritage of the coastal city. Each season serves as an update on the city's heritage and gives an overview of its iconic landmarks. Attendees have access to historical landmarks that are usually not open to the public. Walking tours also play a big part, and many are held around architectural gems that never get old no matter how much people see them. Other projects include book launches, the latest by Osama Muharram, an illustrator and author of the book Life in Ancient Alexandria, launched during the last edition of the Alexandria Heritage Days. Muharram did not intend to publish a book, but he 'wanted to do something more vibrant than my drawings, so I started imagining the daily life of people in ancient Alexandria.' Based on his readings and several museum visits, Muharram started drawing and publishing his artwork on Instagram, including of people and their houses. 'One drawing followed another, and I asked myself why not draw streets, the port, and boats as well.' Soon there was a book in the offing. It illustrates the daily life of Alexandrians in ancient times, but it also allows readers to appreciate what people used to wear. It includes a map of ancient Alexandria and drawings of the harbour and the overall structure of the city. Along with the drawings, which serve as an amazing tool for children to learn about the city's history, the book is the outcome of two years of work and provides accurate historical information about life in ancient Alexandria. An exhibition was curated by Hamdi last November, and both Hamdi and Muharram share the same passion for Alexandria's history and have been partners on several projects. The 11th edition of the Alexandria Short Film Festival took place in the city in May, following its establishment in 2015 by the Art Circle Association. The festival provides an opportunity for filmmakers to present their works to the public in the heart of the coastal city and helps encourage the exchange of experiences among filmmakers from all over the world. Discussions take place between the filmmakers and the audience and provide a platform for presenting work and harvesting the result of the filmmakers' efforts. Held annually, the festival reflects the city's rich cinematic heritage and opens the door to raising awareness through cinema by emphasising the role filmmaking plays in documenting and preserving culture and history. The Oscar-qualifying festival serves as a local and international opportunity for cinema enthusiasts to showcase their talent in short films. At the Alexandria Short Film Festival Masterclass this year, the digitisation of cultural heritage was discussed along with the challenges of preserving cultural legacies. The session featured actor Mahmoud Hemeida, academic Khaled Hemeida, and director Al-Attar. It discussed the importance of documenting the city's artistic heritage and the role of artificial intelligence in safeguarding cultural memory. It also looked at the challenges of intellectual property rights in the current era of digital transformation. The festival prize reflects the history of Alexandria, since it is in the form of a statuette of Hypatia, a Neoplatonist philosopher who resided in Alexandria during the Roman Empire in the fourth century CE. She is said to be the first woman in history to become a prominent mathematician in her own right. According to the fifth century CE historian Socrates of Constantinople, 'there was a woman at Alexandria named Hypatia, daughter of the philosopher Theon, who made such attainments in literature and science, as to far surpass all the philosophers of her own time.' 'Having succeeded to the school of Plato and Plotinus, she explained the principles of philosophy to her auditors, many of whom came from a distance to receive her instructions. On account of the self-possession and ease of manner which she had acquired in consequence of the cultivation of her mind, she not infrequently appeared in public in the presence of the magistrates. Neither did she feel abashed in going to an assembly of men. For all men on account of her extraordinary dignity and virtue admired her the more.' * 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
03-07-2025
- Entertainment
- CairoScene
Styled Archives: Most Fashionable Arab Celebrity Crossovers to Date
Cameras flashed, outfits delivered. A look back at the most stylish celebrity crossovers, where timing was good but styling was better. Jul 03, 2025 What happens when two (or three… or five) icons end up at the same party, premiere, or photo op? You get a moment. The kind that doesn't just live rent-free — it pays the mortgage. From belly-dancing at the Sheraton to quiet legends on a Jeddah yacht deck, this week's Styled Archives rounds up the most unforgettable celebrity crossovers in Arab pop culture. We're talking diva pairings, red carpet trios, and oddly specific yet rare sightings. Whether it's Fifi Abdo shimmying with Nabila Ebeid or Fayrouz and Mireille Mathieu, the outfits carried the whole frame. Mona Zaki, Cynthia Erivo & Hend Sabry | Red Sea Film Festival (2024) In what feels like a fever dream crossover of Ayza Atgawez, Wicked, and Taymour w Shafi'a, Mona Zaki, Hend Sabry, and Cynthia Erivo shared the frame at the 2024 Red Sea Film Festival. Hend sported a crimson off-shoulder gown. Cynthia took a more maximalist route in a green embroidered Valentino duchess satin dress, with a neckline so sculptural it gave the illusion of layered jewellery. Mona, on the other hand, rocked a buttoned chiffon-sleeved dress with a sweetheart neckline tucked under a sharp shirt collar — office siren with a festival upgrade. Leila Elwi & Lebleba | Alexandria International Film Festival (2006) Leila Elwi's black gown, trimmed with orange paisley-like detailing, came paired with a sheer chiffon tie and a star-shaped charm, her beachy waves softening the look with effortless ease. Beside her, Lebleba wore a shimmering green ensemble with gold accents and a matching micro scarf. Fifi Abdo & Nabila Ebeid | Sheraton Hotel Cairo (2000) Fifi Abdo showed up in a black sequined belly dancing dress with a heart-shaped cutout at the chest (subtlety was never the assignment). Nabila channeled high-glam Barbie in a pink sequined gown with chiffon sleeves and a matching red lip. Haifa Wehbe, Basma & Mervat Amin | Cairo Opera House (2007) A satin-heavy serve at the Cairo Opera House premiere of Morgan Ahmed Morgan, this trio gave three distinct takes on screen siren dressing. Basma wore an orange halter gown printed with palm leaves, serving effortless early-2000s resort glam. Haifa looked straight off a Bratz runway in a hot pink satin dress with a sweetheart neckline and her jet-black hair perfectly coiffed. Mervat Amin kept it soft in a floral satin slip-style dress, proving she didn't need volume to make a statement. Omar Sharif & Barbra Streisand | Funny Girl Promo (1968) During the Funny Girl promo run in 1968, Omar Sharif and Barbra Streisand looked like they'd just invented airport fashion. Omar wore a turtleneck under a tailored coat with that signature swooped hair the internet now lovingly calls the 'Harry Styles era.' Barbra, meanwhile, pulled up in a fur coat so plush it could silence a room, oversized sunglasses, and the cutest updo. Elissa & Yousra | (2010s) Elissa wore a floral halter top with a cinched waist, all softness and structure in one. Yousra paired a pink lace dress with an orange belt and a turquoise flower, mixing colours like only she can. Fairuz & Mireille Mathieu | Dinner at Maxim's, Paris (1975) Fairuz in a black fur coat and oversized sunnies, Mireille in all white with her razor-sharp pageboy that yells 'Clair, it's French!' Warda, Umm Kulthum, & Sherihan Warda in a tailored powersuit, Umm Kulthum in timeless black. Sherihan stood next to them in cascading curls and a sequined bodycon dress. Nancy Ajram & Haifa Wehbe | (2007) Nancy wore the kind of top you save to your Pinterest board and then spend a lifetime trying to find. Off-shoulder but long-sleeved, paired with leggings and that early-2000s glow. Haifa matched the energy in black leggings, a blue satin slip top, and a blazer — an outfit that could conquer a business meeting, a date, or a dance floor without blinking.
CairoScene
12-04-2025
- Entertainment
- CairoScene
Alexandria National Museum Launches Kids' Cinema on April 10th
Children aged six to 15 are invited to explore global cinema through screenings from France and Italy. Apr 12, 2025 The Alexandria National Museum is set to launch its first dedicated cinema event for children starting April 10th. Organised in collaboration with the Alexandria International Children's Film Forum, the Egyptian Writers and Film Critics Association, and the Alexandria International Film Festival, the initiative marks the museum's first step into cinematic programming for young audiences. Hosted in the museum's lecture hall, the screenings are open to children aged six to 15 and aim to introduce younger generations to international film in a culturally enriching setting. Two acclaimed short films are on the programme: 'Lola and the Piano' from France, directed by Augusto Zanovello, and 'Falling Garden' from Italy, co-directed by Francesca Coraba and Christian Rosati. The initiative is designed not only to entertain but also to offer an educational experience, encouraging dialogue and critical thinking through storytelling.
