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Al-Ahram Weekly
19-07-2025
- 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 Films are looked upon as historical references, and cinema's world of imagination, colour, and nostalgia can combine for a greater purpose: to cherish and protect our history.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:
Hypebeast
15-07-2025
- Entertainment
- Hypebeast
Drake Shares Timeless Tribute to Virgil Abloh With New Alex Moss NY Chain
Summary Drakecontinues to push the boundaries of bespoke jewelry, recently unveiling a dazzling new piece crafted by renowned New York jewelerAlex Moss. The iced-out creation, aBeauty and the Beastinspired pendulum clock chain of the character Cogsworth, is more than just a luxurious accessory; the chain is seemingly a tribute to the late fashion visionary and friend,Virgil Abloh. The intricately detailed chain features a fully three-dimensional, diamond-encrusted clock, unmistakably reminiscent of Cogsworth, the beloved majordomo-turned-clock from Disney'sBeauty and the Beast. This specific motif immediately drew comparisons to a notable piece from Abloh's own collection. In September 2021, Abloh himself revealed a diamond chain of Lumière, the candelabra character from the same film,crafted with jeweler Izzy Aronbayev. Abloh had described his Lumière piece as 'metaphorically speaking,' hinting at deeper meanings often woven into his designs. The connection between Drake's new clock chain and Abloh's Lumière piece suggests a thoughtful homage, extending beyond mere pop culture reference. Abloh frequently explored themes of time, luxury, and the recontextualization of everyday or iconic objects within his work at Off-White and Louis Vuitton Men's. For many, his Lumière chain underscored his ethos that 'time is the biggest luxury.' By commissioning Cogsworth, Drake appears to complete the iconic duo from the classic tale, simultaneously acknowledging Abloh's artistic legacy and his profound influence on contemporary luxury and streetwear. Alex Moss, who has consistently created audacious and highly personalized pieces for Drake (including his 'Previous Engagements' necklace and 'SSS4U' wallet chain), has once again delivered a piece that is as much a miniature sculpture as it is jewelry. While specific carat weights and diamond details are yet to be fully disclosed, the chain is undoubtedly a high-carat, meticulously crafted testament to both Drake's passion for unique adornment and a subtle, yet powerful, nod to a creative genius gone too soon.
Euronews
11-07-2025
- Entertainment
- Euronews
France's prestigious Lumière Award 2025 goes to... Michael Mann
The great American filmmaker Michael Mann will be honoured with the Lumière Award at the 17th edition of the Lumière Festival in Lyon this fall. The Institut Lumière praised Mann's 40-year career marked by classics such as Manhunter, The Last of the Mohicans, Heat, The Insider and Collateral, as well as his direction of 'screen legends' including Al Pacino, Robert De Niro and Daniel Day-Lewis. The Lumière Award honours a figure for their entire body of work and their connection to the history of cinema. Previous Lumière honorees include some of the biggest names in Hollywood, including Martin Scorsese, Jane Fonda, Francis Ford Coppola, Quentin Tarantino, Tim Burton and Isabelle Huppert, who received the award last year. Lumière Institute and festival director Thierry Frémaux said honouring Mann with a Lumière Award was both 'a dream' and a 'source of pride'. 'Straight out of Hollywood mythology, he is a major artist whose mark on cinema is everlasting,' said Frémaux. 'A stylist and an auteur, Michael Mann has infused his films with a vision of the world and of history that is inseparable from a dazzling cinematic style. Welcoming him to Lyon this October will be a major event for all lovers of cinema.' Check out our eclusive interview with Thierry Frémaux, who spoke to us about celebrating the 130 years of cinema this year. Mann previously visited Lyon in 2017 for a screening of Heat introduced by Guillermo del Toro. He responded to the Lumière Festival's invitation by saying: 'The answer is : great, love to do it. The previous Lumière with Guillermo was a brilliant night. Pure cinema. And a great time. It all sounds brilliant. I'm in.' After making a festival comeback with the biopic Ferrari at Venice in 2023, Mann is now preparing to shoot Heat 2, the hotly anticipated sequel to his 1995 crime drama starring Pacino and De Niro. Mann will receive the Lumière Award on 17 October. The 17th edition of the festival will run from 11 – 19 October.
South Wales Argus
08-07-2025
- Entertainment
- South Wales Argus
CBeebies Musical: The Great Ice Cream Hunt at Vue cinemas
Featuring a star-studded cast – including Justin Fletcher (Mr Tumble), Maddie Moate (Maddie's Do You Know?), and Andy Day (Andy's Adventures) – CBeebies Musical: The Great Ice Cream Hunt promises to add a sprinkling of joy to the summer holidays. This new film arrived in Vue cinemas across the UK on July 11 and is showing at 300 cinemas nationwide, including branches of Vue, ODEON, and Showcase Cinemas. CBeebies Musical: The Great Ice Cream Hunt is an original piece that includes song performances that are exclusive to the cinema and the big screen. The hour-long special won't be appearing on the small screens until later this year. (Image: Lumière/BBC) The musical tale follows Lolly the cow and Pinecone the hedgehog as they investigate the disappearance of ice cream across the land. During their adventure, the pair befriend Storyland Rangers at Coconut Cove, learn magical moves at Mermaid Falls and help a stressed-out caterpillar find his voice at the Summer Fruits Festival. But when they finally catch up with their prime suspect - the rain-loving Professor Raindrop - things aren't quite what they seem… (Image: Lumière/BBC) Director of Distribution at Vue Lumiere, Eve Gabereau, said: 'After bringing two bumper collections of Bluey to cinemas up and down the country, we can't wait to showcase this original musical treat from CBeebies to young fans. 'It's a great continuation of our work with the BBC and their Children & Family content on the big screen.' (Image: Lumière/BBC) Vue Lumière is the new film distribution division of Vue, the number one exhibitor in the UK and Italy by market share, and the largest privately owned operator in Europe. CBeebies Musical: The Great Ice Cream Hunt is showing at selected Welsh cinemas in Cwmbran, Cardiff, Bridgend, and Merthyr Tydfil Learn more and book tickets:
CairoScene
01-07-2025
- Entertainment
- CairoScene
Reel Histories of the Arab World's Oldest Theatres
Long before streaming took over, these film theatres shaped how the Arab world fell in love with cinema. Some still stand, holding stories of generations past. In 1895, cinema was born. In the French coastal town of La Ciotat along the Mediterranean, the Lumière brothers screened 'L'arrivée d'un train en gare de La Ciotat' at the Eden Theatre - now considered the oldest purpose-built cinema still in operation. This moment marked the public birth of film as both an art form and a collective experience. And it didn't stay in France for long. Crossing oceans and borders, it found new audiences around the globe. Everything started to change, rapidly, violently, and so quickly. Films stormed every means of expressionism out there and, in the process, changed how we literally view life. The Middle East and North Africa - dreamy, reflective, and rich in storytelling, qualities that are evident in our folklore - embraced this new medium with open arms. In a time when much of the Arab world was under the plague of colonialism, a factor that ironically accelerated cinema's arrival, films offered a glimpse of hope and a window into other possibilities. Film theatres began to appear, and audiences were obsessed with these 'moving pictures'. Just a year after the Lumières' screening, one of the earliest film showings in the world took place in Egypt, at the Zawani Café in Alexandria, in January 1896. Since then, our love for cinema has been undeniable. The buildings that housed these films became places where we shared our deepest fears, hopes, and desires. So, we've taken the opportunity to rewind and take a look at some of the oldest film theatres across the Middle East and North Africa, from Al Maghreb to Egypt to the Levant, where some of these spaces still stand... Diana Palace Cinema, Cairo Originally opened in 1932 as Diana Palace, the cinema was once one of Cairo's most luxurious and expansive movie theatres, with a grand hall that could seat up to 1,500 people. Designed by Italian architect Gaston Rossi, it quickly became a cultural fixture in the city. The building was damaged during the Cairo fire of 1952 but reopened in 1960 under a new name - Cinema Diana. Located at the intersection of Al-Alfi Street and Bustan Al-Dikka in the Azbakeya district of Downtown Cairo, the cinema has since shifted into the category of second-run theatres. Still, it remains one of the oldest standing film venues in Egypt, a familiar presence tied to the city's deep-rooted cinematic history. Empire Cinema, Beirut Originally built as a hotel, the building was converted into a theatre in 1920 by George Haddad and Nicola Kattan, who saw its potential as a cultural space. Just nine years later, in 1929, it was transformed into a film theatre, r. Since then, it has screened countless films from around the world and has remained a cherished destination for generations of moviegoers. Today, Empire stands as one of the oldest surviving cinemas in Lebanon, and a witness to the country's long love affair with cinema. Cinema Rialto, Casablanca Cinema Rialto is one of Casablanca's most iconic landmarks, opened in 1929 during the French colonial era. Known for its striking Art Deco architecture and 1,350-seat hall, it was once the go-to spot for moviegoers in Morocco. Over the years, it hosted everything from blockbuster films to live performances by international stars like Edith Piaf and Josephine Baker. Though its popularity has faded with time and multiplexes, Cinema Rialto still stands—and occasionally screens films—offering a nostalgic glimpse into Casablanca's cinematic golden age. Cinema Dimashq, Damascus Cinema Dimashq opened its doors in 1943 and quickly became a landmark in Damascus, bringing the magic of cinema to Syrian audiences. With 1,500 seats, it was one of the biggest single-room theaters in the Arab world. After shutting down in 2005, it made a comeback in 2009 as Cinema City - renovated, and rebranded. Today, it houses four mid-sized screening rooms and remains the only cinema in Syria that regularly screens new American and European releases. Cinema Le Palace, Tunis Cinema Le Palace, originally opened in 1903 as Politeama Rossini, was built as a theatre for Tunisia's Italian community. Located on Avenue Habib Bourguiba in Tunis, the venue was converted into a furniture store in 1923, before later becoming a cinema. In 2002, the building's historic façade was restored by the Association for the Protection of the Medina of Tunis as part of wider beautification efforts along the avenue. Today, it continues to operate as a movie theatre. Ciné-Palace Theater, Marrakech Built in 1926 by architect Serge Escharavil during the French protectorate, Ciné-Palace in Marrakech was the vision of Monsieur Friggeri, who dreamed of creating an artistic, multicultural cinema. Throughout the 1930s, it hosted renowned performers like Nat King Cole and Rita Hayworth. Often seen as Marrakech's answer to France's Eden Theatre, Ciné-Palace stood as a cultural hub for nearly four decades before closing in 1984, eventually overshadowed by the rise of luxury hotels. Metro Cinema, Alexandria Metro Cinema in Alexandria opened in 1950 as part of the Metro-Goldwyn-Mayer chain, bringing international films and studio prestige to the city's growing cinema scene. It stood out for its sleek design and strong programming mix, showing both local and foreign titles. While it's no longer the draw it once was, its presence remains part of Alexandria's film-going history - less nostalgia, more cultural fixture. Al Hussein Cinema, Amman Cinema Al-Hussein opened in 1959 in downtown Amman, Jordan, and quickly became a major cultural hotspot. Designed by Egyptian architect Sayed Karim, it stood out for its bold Art Deco style and modern design. It screened major international films and was popular through the 1960s and '70s. But with the rise of suburban cinemas and shifting city life, it eventually closed. Today, the building still stands - empty and neglected.
