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Al-Ahram Weekly
3 days ago
- Entertainment
- Al-Ahram Weekly
Remembering iconic Egyptian filmmaker Youssef Chahine - Screens - Arts & Culture
17 years have passed since the departure of the biggest and most important figure not only in Egyptian cinema but the history of Arab cinema. Youssef Chahine died on 27 July 2008 at the age of 82 after filled with vibrant clamor and spectacular successes Chahine's rebelling personality and his relentless efforts to break the mould of commonness and go beyond the familiar. He was born in Alexandria, on 25 January 1926. Since his early years, he refused to fulfill his father's wish to study engineering and preferred to go to America to study cinema. Upon his return, he made his directorial debut Papa Amin (1950) before reaching 24-years-old. Although he was a member of the aristocratic class, Chahine supported the poor in his films and believed in socialism and advocated for it in his films. He was the only director who was bold enough to execute an innocent man in Conflict in the Valley (1954) and he was the only Christian who directed a film that denounced the Crusades in Saladin (1963). While he was a Nasserite director, he didn't flinch from exposing the corruption of the Nasser regime in The Sparrow. He is also the only cineaste who returned after the 1967 defeat from Beirut to Cairo, while others went the other way round in a collective immigration that Egyptian cinema didn't witness before. He was invited to Paris to direct, not a film but the famous Albert Camus play Caligula, for the Comédie-Française. Chahine was the first to seek financing for his films through unconventional methods, which in its turn raised suspicion concerning the cinema he presented. He was engaged in the most violent clash with the highest Islamic religious authority (Al-Azhar) regarding The Emigrant, which was banned from cinemas by a legal verdict in 1994, as well as other brushes with censorship, including over The Sparrow, and Is This Chaos? The existentialist philosopher Jean-Paul Sartre described rebellion as the real motivation behind any creativity. However, it seems that Chahine's desire to go against the norm was so intense that he couldn't control it. The majority of the Egyptian films at the time Chahine made his first were either traditional love stories taking place in luxurious villas, low class comedies that combined a singer, a belly dancer and a well-known comedian, or plots and traps hatched in night clubs. Chahine's debut was a fantasy involving a middle class Egyptian family in which its breadwinner dreams that he died and was watching the downfall of his family without being able to do anything to save it. He temporarily tried to play it safe, so as to be present on the Egyptian cinematic map, making four traditional films, including The Lady of the Train and The Big Clown, albeit showing high artistic capabilities in these films. Since 1954, Chahine started to speak his mind, or more accurately commenced the big projects of his career. In that year he directed Conflict in the Valley starring Faten Hamama and his new discovery Omar Al-Sharif, in what can be considered the first direct and mature cinematic condemnation of the feudal system that was prevalent in the Egyptian countryside before the 1952 Revolution. This film and a subsequent one, Conflict in the Harbour (1956), revealed Chahine's early interest in class struggle within Egyptian society. This interest has reached its intellectual peak in his flagrantly propagandist film Dawn of a New Day (1965), and its emotional apex in The Land (1970). The former didn't just stop at denouncing capitalism but it heralded a new society where socialism would prevail, while the latter was an emotionally painful cry in the face of oppressive forces seeking to usurp the poor and deny their rights. According to Chahine, ordinary people weren't just the victims of class struggle, but also sufferers of poverty and illness, as in Qenawi's case, the protagonist of Cairo Train Station (1958), which was played by Chahine himself. It was this marginalised personality that Chahine extracted from thousands of passengers frequenting the train station daily. He did the same with 'Ouka, a monkey handler (played by Mohsen Mohie Eddine) and an ordinary mother Siddiqa (played by Dalida), the protagonists of The Sixth Day (1986), drawing each from millions of Egyptians who lived the Cholera epidemic in 1947. The pan-Arab dimension was also a very important feature in Chahine's cinema. He made Djamilah (1958) chronicling the Algerian people's struggle against French colonialists. In another direction, Chahine's The Sparrow (1972) partially tackled the reasons behind the 1967 defeat. It was the best cinematic expression capturing the first days of the defeat and was concluded with fantastic archival footage of the masses going to the streets demanding that President Gamal Abdel Nasser not step down. What's certain is that Chahine got close to the ruling institution as much as he rebelled against prevailing norms. From 1976, Chahine's rebellion grew, even attacking his own cinema and embarking on making films so particular that his audience dwindled gradually. Nobody remained but his die-hard fans who adored his art and comprehended his lofty cinematic language. Following his film The Return of the Prodigal Son in 1976, Chahine got carried away in transferring his autobiography to the silver screen in four films, starting with (1978) and concluding with Alexandria-New York (2004), covering a 35-year period. At the same time, he showed greater interest in religious, intellectual and political issues, such as in The Emigrant, The Destiny (1997), The Other (1999) and Is This Chaos? (2007). But we should keep in our minds that the man behind The Land, Cairo Train Station and The Choice (1970) is the same director of mediocre films such as A Lovers' Call (1960) and Silence, We're Rolling (2001), among others. Highlights of international recognition The most celebrated filmmaker of the Middle East, Chahine created films that participated in and won awards in the biggest international film festivals, including Cannes, Venice and Berlin. Chahine's film Cairo Station was the first Arab and the first African film to be submitted for consideration for the Academy Award for Best International Feature Film (1958). Three more of his films were submitted for Oscars consideration: Alexandria ... Why? (1979), Alexandria Again and Forever (1990) and Destiny (1997). In 1979, Chahine won a Silver Bear for Alexandria … Why? at the Berlinale, while five of his films were nominated for the Cannes Palme d'Or. In 1997, Chahine was presented with the Cannes Festival's 50th Anniversary Prize for lifetime achievement. In 2007, Chahine was awarded the Lifetime Achievement Award from the Dubai International Film Festival. Follow us on: Facebook Instagram Whatsapp Short link:
CairoScene
18-06-2025
- Entertainment
- CairoScene
Cinema Turned Inward: 6 Egyptian Movies about Filmmaking
Ranging from satire to autobiography to fragmented narrative, from Chahine to Amer, these films turns Egyptian Cinema itself into the subject. Jun 18, 2025 In Egyptian cinema, there are moments when the camera turns inward and the stories on screen aren't just about love, politics, or history, but about the act of filmmaking itself. These works don't just use film as a medium but interrogate it as a subject. This is a list of six films, ranging from satire to autobiography to fragmented narrative, that made Egyptian Cinema the subject of cinema... Iskindereyya… Leh? (1979) Set in cosmopolitan Alexandria during World War II, 'Iskindereyya... Leh?' ('Alexandria… Why?') follows Yehia, a young man torn between the realities of war and his dream of becoming an actor, inspired by Hollywood and Shakespeare. The film is the first in Youssef Chahine's acclaimed Alexandria trilogy, followed by 'An Egyptian Story' and 'Alexandria Again and Forever'. Leil Khargi (2018) In 'Leil Khargi', director Ahmad Abdalla follows Moe, a filmmaker whose chaotic day on set quickly spirals into a surreal night through Cairo's underbelly after his film shoot is disrupted by personal and professional crises. What begins as a behind-the-scenes glimpse into a collapsing production transforms into a drifting nocturnal journey, as a taxi driver and a sex worker cross the city's tangled streets, navigating class tensions, social taboos, and the unsteady ground between reality and performance. Akher Ayyam el-Madina (2016) 'Akher Ayyam el-Madina' follows Khalid, a 35-year-old Egyptian filmmaker struggling to make a film that captures the soul of Cairo while facing personal loss and the quiet unraveling of the city around him. Set in downtown Cairo in 2009, the film weaves footage from friends in Baghdad, Beirut, and Berlin, whose cities mirror his own sense of instability and longing. Directed by Tamer El Said, the film won the Caligari Film Award at the Berlin International Film Festival, amongst several other international honors. Balash Tebosni (2018) Directed by Ahmed Amer and starring Yasmin Raeis and Mohamed Mahran, this mockumentary‑style satire follows a young director struggling to film a kissing scene because his lead actress refuses. Kalam Fel Hob (2006) Directed by Ali Idris, this romantic comedy features Yousra as Nahed, a waitress who becomes involved with a director's assistant, played by Amr Waked. It explores the boundaries between personal romance and artistic ambition. Ya Mehalabeya Ya (1991) Directed by Maher Awad and Sherif Arafa, this comedic satire stars Laila Elwi and Hisham Selim. It follows director Shoukry Ezzat and screenwriter Mar'i as they discover an inherited grain warehouse is actually a film studio. The revelation leads to a chaotic 'film‑within‑a‑film' set in the British‑occupied era, where production clashes with nationalist themes.
Egypt Today
10-06-2025
- Entertainment
- Egypt Today
Bab El Hadid Becomes the First Egyptian Film in The Criterion Collection, A Historic Milestone for Egyptian Cinema
The Criterion Collection has officially selected Bab El Hadid as the first Egyptian film to enter its prestigious global archive. But this isn't just a restored edition—it's a cinematic rebirth. The film is presented in a meticulously remastered 4K version, complete with a brand-new poster designed by artist Mariam El Reweny and original uncompressed audio, giving the classic a stunning new life more than 60 years after its debut. But that's not all. The release also includes the rare documentary Cairo as Seen by Chahine, along with a new docuseries titled Chahine… Why?—offering a deep dive into the mind and vision of legendary director Youssef Chahine. Criterion is one of the world's most respected film institutions, dedicated to restoring and curating landmark films from around the globe. It's a trusted resource for filmmakers, scholars, and cinephiles alike. Including an Egyptian film in this archive marks a moment of global recognition—an acknowledgment of the film's artistic and historical value on the world stage.
Egypt Today
29-05-2025
- Entertainment
- Egypt Today
Luxor African Film Festival to Celebrate the Centennial of Youssef Chahine in Landmark 15th Edition
The Luxor African Film Festival (LAFF) is gearing up for a spectacular 15th edition, set to take place in the last week of March 2026 under the powerful theme: 'Youssef Chahine… An Egyptian Tale.' This special edition honors the centennial of iconic Egyptian filmmaker Youssef Chahine (1926–2026), whose groundbreaking work left an indelible mark on Arab and global cinema. Festival President and screenwriter Sayed Fouad revealed that this tribute will include a bilingual (Arabic-French) documentary book chronicling Chahine's cinematic journey and a captivating video art exhibition showcasing rare photographs and vintage posters. Four of his most celebrated, newly restored films—revived by Misr International Films—will take center stage in Luxor and across African countries throughout 2026. In parallel, the festival will honor key collaborators from Chahine's filmography, making this centennial celebration a continent-wide homage to his enduring legacy. Festival Director Azza Elhosseiny also announced a reimagined 'Special Focus' program spotlighting South African cinema, with four landmark films and a reissue of a pivotal book tracing the nation's cinematic evolution. This year's edition will also pay heartfelt tribute to the late Malian auteur Souleymane Cissé (1940–2025), a towering figure in African cinema and a longtime friend of LAFF. A dedicated bulletin and retrospective will honor his remarkable contributions to the art form, including his award-winning works that once graced Cannes and other international festivals. Since its inception in 2011, LAFF has been a vibrant bridge between Egypt and the rest of Africa, championing the continent's rich cinematic heritage through curated screenings, cross-border programs, and institutional collaborations. Organized by the Independent Artists Youth Foundation, with actor Mahmoud Hemida as honorary president and producer-distributor Gaby Khoury heading the high committee, the festival is backed by Egypt's Ministries of Culture, Tourism & Antiquities, Foreign Affairs, and Youth & Sports. Key partners include the National Bank of Egypt, Egyptian Tourism Promotion Authority, Kemet for Peace and Knowledge, Afreximbank, the Syndicate of Cinematic Professions, and Luxor Governorate.
CairoScene
22-05-2025
- Entertainment
- CairoScene
Criterion to Release 4K Restoration of Youssef Chahine's Cairo Station
The restoration of the film was done with an uncompressed monaural soundtrack, preserving the film's sonic and visual textures. May 22, 2025 The Criterion Collection, the American company known for licensing, restoring, and distributing significant works of world cinema, has announced the release of a newly restored version of 'Cairo Station' (Bab el Hadid) by late Egyptian auteur Youssef Chahine. The 4K restoration will be available from the 12th of August 2025 through the company's various platforms. First released in 1958, Chahine not only directed but also starred in the film, playing the role of Qinawi, a disabled newspaper vendor whose obsessive infatuation with a charismatic soft drinks seller- played by the inimitable Hind Rostom- spirals into operatic tragedy on the platforms of Cairo's main railway station. A blend of Italian neorealism and bold melodrama, Cairo Station is often lauded for its raw, street-level aesthetic and psychological depth. The film captures the turbulence of a society undergoing rapid political and social change in the wake of the 1952 revolution, and the struggles of individuals searching for a foothold in a redefined national identity. The upcoming Criterion edition features a new 4K digital restoration with an uncompressed monaural soundtrack, faithfully preserving the film's original sonic and visual textures. It also includes a newly restored version of 'Al Qahira Kama Ra'aha Chahine' (Cairo As Seen by Chahine, 1991), a short documentary by Chahine that offers a personal and cinematic portrait of the Egyptian capital, restored in 2K. The release is further enriched by an introductory feature from film critic Joseph Fahim, who places Cairo Station in its historical and artistic context. In addition, it presents newly translated English subtitles, offering greater fidelity to the original Arabic dialogue with an ear for its rhythm and nuance.
