Dunia

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.

Amal is 14 years old when she ends up on Tahrir Square during the Egyptian revolution, after the death of her boyfriend in the Port Said Stadium riot. During the protests, she is beaten by police and dragged across the square by her hair. This coming-of-age film follows her over the years after the revolution. As the film cuts between the unfolding current events and Amal’s rapidly changing life and appearance, we see her searching for her own identity in a country in transition. Amal is fiery and fearless, sinking her teeth into the protests and constantly lecturing her mother, who works as a judge. A girl among men, she also has to fight for respect and the right to take part, both in the street and in the rest of her life. In Egypt, even for a young woman like Amal-her name means "hope"-the choices open to her for her future are limited.

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.