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Al-Ahram Weekly
04-07-2025
- Entertainment
- Al-Ahram Weekly
Barely deciphered - Culture - Al-Ahram Weekly
Hala ElKoussy's narrative feature debut was Zahrat Al-Sabbar (Cactus flower, 2017). Sharq 12 (East of Noon), her second, premiered at the 2024 Cannes Film Festival in the Director's Fortnight section and has participated in festivals and events around the world since then, but the first Egypt screening of the film in Egypt took place only last week at Cinema Zawya. The film opens with subtitles giving the location: the colony of Sharq 12 (the latter, as the English title indicates, a reference to noon). It is clear this won't be a mainstream experience. The title carries two values. One is geographic (east), the other temporal. It would never become clear what the metaphorical interpretation of the title is, though it suggests this is a space outside the world as we know it, as if the action is taking place in a space-time gap. This is also suggested by the fact that all the clocks and watches in the film don't work. The filmmaker-screenwriter sets her black comedy in the dystopian atmosphere of a remote village or colony near an abandoned industrial facility, which adds to its isolation. Each character symbolise a concept. At the beginning a female narrator (Menha Al-Batraoui) is telling the story of a couple with a young child escaping by the seashore. One of the first scenes shows the main character, Abdo (Omar Rozik) in his room playing percussions using slippers and old plastic water tubes. Abdo and his friend are drinking tea, however this simple act reflects the fact that sugar cubes are a rare commodity. In another scene sugar becomes a kind of currency. The two friends are seen burying a body with one of the security forces, and when they finish the job they are paid in sugar boxes. Shawki Al-Bahlawan (Ahmed Kamal) is the most powerful man in the village. His introductory scene quickly shows the luxury he lives in as he appears in his house wearing a bathrobe before he starts his work of following up on what is happening in the colony. In another scene he takes a box of sugar cubes out of his drawer and sniffs them passionately as he might do with banknotes. Shawki performs in a theatrical show in front of the colony's audience. This performance combines public speech with acting and dancing. The character represents the colony's power mixed with clownish behaviour in line with the name Al-Bahlawan, which though a known surname actually means clown. Galala (Al-Batraoui) is Abdo's grandmother and a character that may be seen as the opposite of Shawki. She is among the ordinary people of the community helping them to meet their needs by letting them barter unnecessary belongings for the contents of her shop-office. On the other hand, her main activity is telling the children of the colony stories about the sea while they act as if they swim on the office floor. In one of the most significant scenes in the film, Abdo confronts his grandmother about this. She says that imagination is a cure and he replies that imagination is a sedative. Shawki's authority is executed by armed men who represent the colony's security forces headed by Borai (Osama Abul-Atta). As a character Borai shows aggression against those who don't comply with what Shawki orders. He sexually exploits Nuna (Fayza Shama) by locking her in the toilet of the security office where he works, not only having sex with her himself but passing her onto all the other security personnel as well. Nuna, who is a free spirit forced against her will to have sex with all of these people, is in love with Abdo. However, she is pregnant and doesn't know who the father is. She only believes that escaping with Abdo from the colony may give her a better future. Most films about authoritarian oppression end with chaotic revolt, and Elkoussy's is no exception: Abdo, who is working with music and sound recording, fakes a message from Shawki using his old speeches telling all the people that there is a treasure in the area where they bury the bodies. It is clear Elkoussy is influenced by the late filmmaker Youssef Chahine, which is clear from characters like the lame man who wears a galabiya and moves around the village lusting after and perhaps harassing Nuna. He looks exactly like Qenawi, the main character of the Chahine's Bab Al-Hadid (Chahine himself played the role). In fact Abdo has similar features with Ibrahim, the young man in Chahine's The Return of The Prodigal Son. Both are obsessed with leaving the chaotic isolated place they live in and travel seeking a wider future. It is interesting that Egyptian cinema produces various kinds of films. Some have the attention of large audiences while others are only accepted by a few. But in the end such diversity represents a deeper value for the entire film and cultural industry alike. It is true that the core of creativity in general is built somehow on references and metaphors, but symbolism since its emergence as a movement in the 19th century has demonstrated an extreme notion regarding metaphors. Opposed to both naturalism and realism, symbolism gave artists the freedom to express their thoughts against the widespread political dominance of one-sided thought or even harassment by dictatorial authorities. Visually, ElKoussy's film is beautiful. Shot on 16 mm film black and white celluloid, the beautifully composed picture has a noticeable roughness. The DOP Abdel-Salam Moussa created an alluring image, while Ahmed Al-Sawy composed a peculiar score. However, the filmmaker may have relied too heavily on symbolic motifs, complex ideas, and layered messages, which became overwhelming for much of the audience. The capacity to grip the audience's emotions and sympathy was lost too often as the film engaged the intellect, but after losing the emotional connection it is not easy to satisfy the minds. Even experienced cinephiles felt the film lost the soul of its story, the primary means of capturing the viewers' attention. And in the end this made its intellectual and artistic power ring hollow. * A version of this article appears in print in the 3 July, 2025 edition of Al-Ahram Weekly Follow us on: Facebook Instagram Whatsapp Short link:
CairoScene
20-06-2025
- Entertainment
- CairoScene
Award-Winning ‘East of Noon' to Premiere in Egypt at Zawya Cinema
Following its Cannes debut and international festival run, 'East of Noon' by Hala Elkoussy will screen in Egypt for the first time at Zawya Cinema starting June 25th. Jun 20, 2025 Hala Elkoussy's award-winning debut feature 'East of Noon' will make its Egyptian premiere at Zawya Cinema on June 25th. The opening night will include a Q&A session with Elkoussy following the 7 PM screening, marking the film's first local showing since its international festival debut. The film premiered at the Cannes Film Festival's Directors' Fortnight, where it won the Société des Auteurs award, and was later selected for the Berlin International Film Festival. 'East of Noon' has since earned multiple accolades for its striking visual language and layered, allegorical narrative. Set in a timeless fictional world, the film follows 19-year-old Abdo, a gifted musician challenging an inert system governed by the ageing showman Shawky and the enigmatic storyteller Jalala. Through its symbolic framework, 'East of Noon' reflects on themes of power, resistance, and the role of creative expression under oppressive systems.
Egypt Today
30-04-2025
- Entertainment
- Egypt Today
Abdelsalam Moussa & Hala Elkoussy spark up the Magic of Cinema in a Visual Experience in the framework of Cairo Photo Week
Cinematographer Abdelsalam Moussa is currently preparing to launch "a Kind of Magic" exhibition within the framework of Cairo Photo Week. It is organized by Photopia, under the auspices of the Ministry of Tourism and Antiquities, Tourism Promotion Authority, and the Ministry of Culture, in coordination with visual artist and film director, Hala Elkoussy, who is the longtime collaborator of Abdelsalam Moussa with several cinematic works to their credit, such as "East of Noon", which was screened in the Directors' Fortnight at the 77th Cannes International Film Festival. "A Kind of Magic", which will be held at Cairo Design District (CDD) at New Cairo between (6-18) May, is considered Abdelsalam Moussa's first solo exhibition after taking part in multiple group exhibitions. Moussa unleashes his own magic through a stunning visual experience based on a multi-screen immersive installation, displaying new visual narratives of scenes from his cinematic and television works. American Cinematographer, which is one of the most prominent and prestigious cinematography magazines in the world, ranked Moussa as one of the rising stars in the world for 2020. A cinematographer with a unique visual style, Moussa's credits include: "Muga Harra", "Embratoria Meem", "Harag we Marag", "Mussawer Qatil", "walad we bint", "Afraah El Qubba", "Dayye", "The Crime", and "Cactus Flower". Moussa mentioned that the title of the exhibition, "A Kind of Magic" was inspired by the words of late esteemed critic Magdy Eltayeb which highlight the extraordinary experience of cinema. Through a three screen and nine speaker installation, a new dramatic narrative is born for the characters of familiar cinematic and television works. Director Elkoussy took her inspiration for the exhibition from the words of late esteemed critic Magdy Eltayeb; "Abdelsalam Moussa seems to have replaced the camera with a magic staff, transforming the screen—whether small or large—into a world charged with magic, beauty, and awe". The characters that Moussa illuminated for the most prominent filmmakers in Egypt and abroad converge in a new realm; the magic world of Abdelsalam Moussa. In a medley of sunrise, sunset, full moon, stage lights, candle flames and raging fires, they come to life, and in the shadows, they whisper about the essence beyond the surface, in an ethereal cinematic experience that unfolds uniquely for every viewer. Abdalrahman Mahmoud created the sound for the installation, Hala Elkoussy and Adham Yehia edited the videos and post-production was undergone at Vivid Studios. Photopia's founder and executive director, Marwa Abu Leila, stated, "Cairo Photo Week focuses on celebrating exceptional artistic experiences. In 'a Kind of Magic' exhibition, director of photography Abdelsalam Moussa presents an artistic experience that highlights how the camera lens carries a whole life and how a single character can get out of the usual framework through the synchronized display across three screens into another realm and present a novel and integrated idea. It is noteworthy that the fourth Cairo Photo Week, held between (8-18) May under the title "Discovering the Scene", includes over 20 individual and collective exhibitions for professional local and international photographers and cinematographers. They also include international institutions, such as World Press Photo, Vogue, National Geographic, and Getty Images, in 14 locations cultural centers in Downtown. Furthermore, Cairo Photo Week is to host over 100 discussion sessions, workshops, and live demos, with the participation of international experts and artists, in collaboration with multiple embassies, such as the Netherlands, Italy, Spain, France, Switzerland, and Denmark, along with the British Council and the European Union.
Al-Ahram Weekly
21-02-2025
- Entertainment
- Al-Ahram Weekly
Egyptian, Arab films at Berlin International Film Festival - Screens - Arts & Culture
The 75th edition of Berlinale features 198 films from around the world, including a powerful presence of Arab cinema in more than one section. Four films from Egypt are screened in the festival. The four Egyptian films featured at the Berlinale are Al Mosta'mera (The Settlement) by Mohamed Rashad, Daye: Seret Ahl El Daye (The Tale of Daye's Family) by Karim El Shenawy, East of Noon by Hala Elkoussy, and the short film Akher Youm (The Last Day) by Mahmoud Ibrahim. The Settlement premiered in the newly introduced Perspectives for First Features competition, vying for the Best First Feature Award funded by GWFF alongside 13 other films. The jury for this segment includes Tunisian-Canadian director Meryam Joobeu, French actor and filmmaker Aïssa Maïga, and Spanish producer María Zamora. Egypt's Ambassador to Germany, Mohamed El Badri, Minister Plenipotentiary Youmna Osman, and veteran Egyptian actor and President of the Cairo International Film Festival, Hussein Fahmy, attended the screening. The film explores the lives of factory workers in Alexandria through the eyes of two brothers, Hossam and Maro. A month after their father died in a factory accident, 23-year-old Hossam takes a job at the same factory to support his family. Offered as compensation for their father's death, the job draws in Maro, his 12-year-old brother, who insists on leaving school to join him in the harsh world of labour. The film features newcomers Adham Shoukry, Ziad Islam, Hajar Omar, Mohamed Abdel Hady, Emad Ghoneim, and Hanady Abdel Khaliq. Actor Ahmed Helmy celebrated the European premiere of The Tale of Daye's Family alongside director Karim El Shenawy, scriptwriter Haitham Dabbour, and actors Aseel Omran and Badr Mohamed. The film was screened in the Generation 14plus competition, which highlights contemporary films about children and teenagers. It competes among 10 feature-length and 10 short films for the Crystal Bear and three other awards. The film premiered at the Red Sea International Film Festival last December. It follows Daye, a 14-year-old Nubian albino boy with a golden voice. Bullied for his unique appearance and abandoned by his father, Daye dreams of becoming a singer like his idol, Mohamed Mounir. Accompanied by his family and music teacher, Daye embarks on a road trip from Aswan to Cairo to audition for The Voice, exploring themes of identity, ambition, and family bonds. East of Noon by Hala Elkoussy was screened as part of the Critics' Week, featuring among 17 films selected this year. The black-and-white film, which had its world premiere at the Directors' Fortnight at the Cannes Film Festival in May 2024, also participated in the Red Sea Festival and the Rotterdam International Film Festival. It tells the story of Abdo, a rebellious young musician, and his love interest, Nunna, as they dream of escaping their oppressive hometown. Mahmoud Ibrahim's five-minute documentary The Last Day was screened in the Forum Expanded section. It follows two brothers, Ziad and Moody, on their final day at the family home before it is demolished as part of a city development plan. As they pack their belongings, they hear news of home demolitions in Sheikh Jarrah, Jerusalem, casting a sombre shadow over their loss. Beyond Egyptian cinema, Berlinale also showcases films from other Arab countries. Syrian filmmaker Ameer Fakher Eldin presents his second feature, Yunan, competing for the Golden and Silver Bear awards. Starring Lebanese actor Georges Khabbaz, German actress Hanna Schygulla, and actors Ali Suliman, Sibel Kekilli, Nidal Al Achkar, and Tom Wlaschiha, the film follows Munir, a depressed Arab writer living in Hamburg. Seeking solitude, Munir travels to a remote island, where he encounters Valeska, a compassionate woman who helps him rediscover his will to live. Born in Kyiv to parents from Syria's Golan Heights, Fakher Eldin presents Yunan as the second instalment in his Homeland trilogy, exploring themes of identity, exile, and isolation. The festival also features two Arab documentaries in the Panorama section. Khartoum, co-directed by Anas Saeed, Rawia Alhag, Ibrahim Snoopy, Timeea M Ahmed, and Phil Cox, is a Sudanese, UK, German, and Qatari co-production that follows Sudanese refugees grappling with the trauma of war. Yalla Parkour by Areeb Zuaiter, a co-production from Sweden, Qatar, Saudi Arabia, and Palestine, documents the director's return to Gaza, where she connects with young parkour enthusiasts navigating life amid destruction. The 75th Berlin International Film Festival runs from 13 to 23 February. Short link:
