Your feedback is important to us!
We invite all our readers to share with us their views and comments about this article.
Disclaimer: Comments submitted by third parties on this site are the sole responsibility of the individual(s) whose content is submitted. The Daily Star accepts no responsibility for the content of comment(s), including, without limitation, any error, omission or inaccuracy therein. Please note that your email address will NOT appear on the site.
Alert: If you are facing problems with posting comments, please note that you must verify your email with Disqus prior to posting a comment. follow this link to make sure your account meets the requirements. (http://bit.ly/vDisqus)
English-language reviews of Egyptian feature film can be tedious. Foreign critics have been known to be contemptuous of (or perplexed by) the country's commercial cinema, which is seen to emulate the worse qualities of genre film.Even intelligent cinema has been read in terms of genre, that of "Egyptian modernism". Khan's film was clearly not made for foreign critics or audiences but with an Egyptian audience in mind; indeed it will be interesting to see if the film secures a general release in Egypt with its pantomime kissing sequences left intact.Non-Egyptian observers of the country's recent cinema will detect interesting similarities between the isolated not-home-by-the-sea premise of Khan's film – penned by Ghada Shahbander – and that of countryman Daoud Abdel Sayed's feature "Out of the Ordinary," which premiered at DIFF last year.For those raised on a diet of popular dramas – or, for that matter, the work of the late Youssef Chahine – Shahbander's story may be read as a compact metaphor for the Egyptian bourgeoisie today.The middle-class professionals in this film are basically secular – in as much as they are bent on finding fulfillment in this world, not the next.
Metropolis Cinema appeals for help
Film, environment mingle in Akkar
On the ins and outs of publishing
FOLLOW THIS ARTICLE