Egypt Best Films - FilmRoot

In the Last Days of the City – An Ode to a Disappearing Home

In The Last Days of the City Film Difficulty Ranking: 4

You might have seen Fellini’s La Dolce Vita or Sorrentino’s The Great Beauty, two films that honor the city of Rome, but you probably haven’t seen In The Last Days of the City, Tamar El Said’s tribute to Cairo. Instead of a bombastic tour around the city, In the Last Days of the City’s tribute is muted. Instead of a warm film about one man’s love for his home city, In the Last Days of the City charts the director’s growing disillusionment with his home city and the increasingly militant and fundamentalist place it’s becoming.

From: Egypt, Africa
Watch: Trailer, JustWatch
Next: The Square, La Dolce Vita, The Journey

The Breakdown

El Said wanders around Cairo trying to find a new apartment. He needs a new place to live as his current landlord is evicting him to demolish his apartment block for a new more profitable construction. In his search, he visits many parts of the city, becoming an observer of everything happening. Whilst he wanders the city, he doesn’t interfere with anything going on. He watches the changing city passively and allows us (the audience) to form our own opinions on what we see. He’s like our Virgil from Dante’s Inferno, his role is to guide us around the city and show us what is changing.

Through his eye, we start to see the growing militarization and fundamentalism of the city and the gradual loss of freedom. In terms of the militarization, we see more and more army trucks and soldiers patrolling the city, plain closed policemen chasing people, and policemen beating and arresting protestors. In terms of the growing fundamentalism, we see ‘Thou Shall Not Look at Women’ slogans stuck on walls in apartment blocks and hear prayers playing over loudspeakers in apartment elevators. Backed by a soundtrack with snippets from radio shows speaking to the growing divisions in the country, the future of the city looks bleak.

There’s a scene which serves as a warning of Cairo’s negative future. In the scene, we meet a group of the directors friends in a cafe lit by light and laughter. It’s a rare scene of laughter and happiness. Each one of the group is living in a different corner of the Arabic diaspora and represent the choices that El Said has. Two of the friends are from Baghdad. They represent the extreme direction that Cairo could take. One has left the city for Europe after seeing his home city crumble to ruins. The other can’t leave his roots despite the violence, and continues to live in fear. Both of them fail to recognize the homely city that they grew up in. The third friend from Beirut, represents the middle ground between Cairo and Baghdad. His growing disillusionment and antipathy at the changes in Beirut are conquering his happy memories. But he’s still managing to grasp onto the last remnants of the city he loved before it becomes unrecognizable like Baghdad. Each of their stories are warning signs for the direction of El Said’s Cairo. He can stay and watch the city fade or he can leave the country with some of his positive memories intact.

El Said’s indecision is reflected in his struggles to make the film. He wants to capture the city he loved, the warm city of his memory, but as he’s filming, all he can see is the cities inevitable demise. He slowly comes to realize that he will either watch the city he loved slowly disappear or leave the city and preserve the happy memories that still survive in him.

What to Watch Next

If you want to watch more films which honor the director’s home city, check out Fellini and Sorrentino’s respective odes to Rome: La Dolce Vita and The Great Beauty. You could also check out Thom Andersen’s documentary Los Angeles Plays Itself, composed completely out of Hollywood films.

Or if you’re more interested in seeing towns and cities slowly disappear, check out Once Upon a Time in Venezuela and Kings of Nowhere; two documentaries of towns destroyed by nature. There’s also Cuban docu-drama, The Project of the Century featuring one town full of hope destroyed by international politics.

Lastly, for more films set in Arabic cities subject to increasing fundamentalism and war, watch The Square from Egypt, Freedom Fields from Libya and The Journey from Iraq.

Scheherazade, Tell Me A Story – Down With the Patriarchy

Scheherazade, Tell Me A Story Film Difficulty Ranking: 2

Why Watch Scheherazade, Tell Me A Story?

If you like ‘real’ stories and storytelling
To see how entrenched the patriarchy can be (and is)
It’s an entertaining watch, because of it’s brilliant use of melodrama

From: Egypt, Africa
Watch: Trailer, Mubi, Prime Video, JustWatch
Next: After the Battle, The Insult, Saudi Runaway

Too Early, Too Late – Documenting the Land of Two Countries

Too Early, Too Late Film Difficulty Ranking: 5

Too Early, Too Late isn’t your typical documentary. Instead of following a person, animal, or political movement, it documents the landscape through a series of long sweeping shots of fields, land, and people. If you’re a people watcher, or someone who likes to sit on a park bench and contemplate the view, you’ll enjoy Too Early, Too Late. It requires patience, an open mind, and some open ears.

From: France, Egypt, Europe, Africa
Watch: YouTube, Rent on Amazon
Next: Playtime, Peace, Reminiscences of a Journey to Lithuania

Read The Full Review

Asmaa (Egypt)

Asmaa Film Difficulty Ranking: 3

Can you imagine a place where TV adverts about HIV/AIDS show scary images of bats, blood, drugs, and prostitutes? Well, you don’t have to. Egypt actually showed these adverts. In Asmaa director Amr Salama challenges the social prejudice towards HIV/AIDS suffers. Watch this film to learn about the limitations of being a HIV/AIDS patient and a woman in Egypt.

Why Watch Asmaa?

Follow the life of a woman with HIV battling against social prejudice in Egypt
Watch the film here on YouTube to start your adventure into Egyptian film
Experience a bit of life in Cairo and the country surrounding the capital

The Breakdown

First of all, it is important to know that there is a bit social stigma around the HIV positive in Egypt. The director, Amr Salama, states:

“In Egypt we think it’s a punishment from God and we should not treat it. We think that they get it from a sin so they deserve it, and we think it’s very contagious so we don’t deal with them in any way. So people die from that more than they die from anything else. “

Asmaa starts in a small HIV group, a bit like an alcoholics anonymous group. The director cuts between the group talking and scenes in a hospital. We find out that our protagonist Asmaa has HIV and was denied hospital treatment because of it.

Asmaa is a do it all mother. She looks after her father, her daughter, whilst working shifts at the airport. Through flash backs to her former life, we learn how she caught HIV and her former dreams. Her flashbacks are shown in golden colours which contrast with the dreary blue and grey filter that depicts her current life and her visits to the hospital. It is obvious she wishes to recapture the dreams of her early life with her former husband.

Conclusion

Asmaa is an important tale based on the true stories of many HIV/AIDS suffers that Salama met when filming a documentary before he filmed Asmaa. The film reveals the plight of women in Egypt as well as the social prejudice against HIV/AIDS patients. It challenges the controversial portrayal of HIV/AIDS in Egypt by putting you in the shoes of a strong woman coping with the disease.

After the Battle (Egypt)

After the Battle Film Difficulty Ranking: 2

Like me, you may have heard of the Arab Spring (2011) and the protests at Tahir Square in Cairo (documented on Netflix’s The Square). But do you know what happened afterwards? After the Battle explores the aftermath so you can see how life has changed (or stayed the same) since the Arab Spring. Ignore the bad reviews (yes, the film is a little bit cheesy in parts) and go watch it!

For all those not sure – check out the first 45 seconds of this trailer (then turn it off unless you want spoilers!)

Why Watch After the Battle?

To learn about the political climate and quality of life in Egypt following the Arab Spring in 2011
Explore gender politics and class structure in Egpyt – lots to discuss!
It’s not hard to watch – it has the tone of a TV series so all of you can watch it without getting lost in any pretentiousness
For a great post-Arab Spring viewing companion to Asmaa

The Breakdown

On February 2nd 2011, Tahir Square protestors were attacked by camel and horse riders from the pyramids. This event became known as the Battle of the Camels. Footage of the event shows horse and camel riders riding into protestors armed with whips (and nothing else). One of the riders falls off of his horse and is beaten by the protestors.

Mahmoud is the rider who falls from his horse in the Battle of the Camel. He is a poor horse rider from Nazlat (a suburb of Cairo near the Pyramids) who made his living from tourists. However, a great wall was built to separate the horse riders from the tourists, so he no longer has a job. He has to rely on the ‘good-will’ of his relative/local boss to get by. He is the one who lets him and his family live in their house and provides them with a little income when needed. Mahmoud represents the lower classes that were not represented in the Arab Spring, that have continued to be exploited by their ‘superiors’.

Rim is the woman we follow throughout the film. She is a liberal middle-class woman and a strong activist for the Arab Spring. She is marginalised just like Mahmoud. However, instead of class prejudice, she experiences sexism. After being groped whilst protesting, she is told that the place for a woman is at home, not on the streets. However, her revolutionary ideas meet a challenge when she meets Mahmoud – her antithesis.

Conclusion

Another interesting exploration of Egypt in the aftermath of the Arab Spring (also see Asmaa). The film tries to cover a lot, from gender politics to class, but ultimately manages to cover it all without appearing vague.