Amal

Adam, a simple fisherman's son, joins the prestigious Al-Azhar University in Cairo, the epicenter of power in Sunni Islam. On the first day of classes, the Grand Imam at the head of the institution suddenly dies. Adam finds himself at the heart of a relentless power struggle between the country's religious and political elites.

After studying literature at Cairo University, Dunia, 23 years old, wants to become a professional dancer. She attends audition for an oriental dance contest where she recites Arabian poetry without any body movement. She explains to the perplexed jury that a woman can't move her body or evoke act of love when society ask women to hide their femininity. She is selected and meets Beshir, an intellectual and activist who will supervise her thesis on ecstasy in Sufi love poetry. Their attraction is mutual. This could be liberation for Dunia but the constraints on women in Egyptian society goes deeper than she suspects.

Melodrama and thriller, social drama and love story in one, the masterly feature film by the Egyptian director Youssef Chahine, made in 1958, is located entirely on the station grounds. The old Madbouli is the owner of a kiosk at Cairo's main railway station. One day he finds a half-starved, poor man at the edge of the tracks. Madbouli feels sorry for the sad-looking, limping farmer Kenaoui and hires him as a flying newspaper salesman. At work, Kenaoui meets the beautiful Hanouma every day, who also earns her living at the station by supplying travellers with lemonade drinks. Kenaoui falls for the cheerful woman and makes it his goal to marry her. Lonely and in obsessive longing, he cuts out lightly dressed women from magazines in his hut at the edge of the train station in the evening, hanging his walls with them. Although he knows that Hanouma is already promised to the suitcase porter and trade unionist Abou Serih, one day he reveals his feelings to her and proposes to her. Her rejection, soaked with mockery and ridicule, drives Kenawi further into a rage-drenched obsession for Hanuma. Restored version.

Mahmoud and Fawzi have been living in the Zaatari Refugee Camp in Jordan. Though they both have no sense of what the future holds for them, they focus their energy together on their first love: soccer. Despite the dire circumstances in the camp, they practice day in and day out, believing firmly that playing professionally is their ticket to freedom. When Aspire Academy, one of the world’s leading sports academies, arrives to pick players for an international tournament in Doha, they quickly identify Mahmoud as a talent and fly him there, while Fawzi is left behind due to a technicality. Mahmoud is boarding a plane for the first time and is taking in the experience, while Fawzi is facing the difficult reality in Zaatari. Unexpectedly, the Aspire coaches decide to fly Fawzi in to join his team. The two best friends train and compete in the most important soccer matches of their lives, while their families in Zaatari watch via satellite. After the final match, they speak at a press conference. On behalf of the displaced people of Syria, they make clear that people need an opportunity, not pity. Three years later they grew to young men. They are still stuck in Zaatari, still troubled by fears of an insecure future.

How can one talk about feminist struggles in a tender way with an enlightened patriarch? Under the influence of a very personal poetic potion, Nadia Fares transforms the homage to her beloved Egyptian father into a chronicle of the situation of women in Egypt and in Switzerland. She explores the effects of patriarchal tradition as a mirror effect between Orient and Occident.

The Sparrow fascinates with its parallel strands of action. The various ways of encountering a criminal trader, namely by a police officer and a journalist, are ultimately only traces that lead to the tip of an iceberg: the corruption of Egyptian society on the eve of the Six-Day War.

In this Andre Gide adaptation, an activist is released after many years in prison and returns home, shaking up established relationships among his family members at the farm governed by his strict father. Demonstrating Chahine’s eclecticism, this is an elegant melodrama, exuberant musical, layered allegory, and profound portrait of personal and political disillusionment.

Youssef Chahine’s adaptation of Marxist writer Abd al-Rahman al-Sharqawi’s 1953 novel, set in the 1930s, is an epic chronicle of life in a rural Egyptian village. The main plot concerns the unsuccessful attempts of the villagers to retain their access to water. Told that they can only irrigate their land a few days a month, several of the villagers are arrested for overwatering. Although the outside threat originally seems to unite the villagers, divisions resurface, and one of them is bought off by the local bey, representative of the ruling class in general.