Culture minister launches national plan to revive film industry, modernise cinematic assets
The Minister affirmed that this initiative comes in response to directives from the political leadership to invest in idle cultural assets and enhance their contribution to the creative economy. It also aims to provide a professional production environment that will help restore Egypt's leading position in cinema.
Henno explained that the strategy rests on three main pillars: upgrading the infrastructure of studios and cinemas, reactivating idle assets to maximise their cultural and economic value, and establishing a professional national production entity to offer integrated services for creators and investors.
As part of this effort, the Holding Company for Cinematic Productions, together with its subsidiary the Cinematic Asset Management Company, has set out an ambitious plan to modernise Cinema City, Studio Nahhas, and Studio Ahram. These facilities will be outfitted with advanced post-production technologies, including editing systems, colour grading, sound mixing, digital archiving, and upgraded fire safety and air conditioning systems. The plan also covers the renovation of sound stages and cinemas such as Miami, Diana, and Normandy.
The company has already reopened several previously closed cinemas and has launched renovation work on Miami and Normandy cinemas for the first time in over 25 years. It has also settled disputes with distribution companies and upgraded audio-visual systems.
Additionally, the Holding Company is working to establish a national production company to provide professional services in filming, editing, sound mixing, and colour grading. The aim is to support film and television production in Egypt and deliver competitive production models across the Arab world and the wider region.
In parallel with modernisation efforts, the Holding Company—working alongside the Heritage Restoration Center for Audio-Visual Media at Media Production City—has digitally remastered several Egyptian cinema classics in high-quality 4K resolution. These titles include The Second Wife, The Sin, The Quail and Autumn, Sunset and Sunrise, The Man Who Lost His Shadow, Umm Hashim's Lamp, The Road, Cairo 30, A Taste of Fear, My Wife and the Dog, Between the Two Palaces, Palace of Desire, My Wife Is a General Manager, The Beggar, The Impossible, People and the Nile, A Crime in the Quiet District, and The Mirage.
Ezz El-Din Ghoneim, CEO of the Holding Company, explained that this restoration initiative will help showcase these cinematic treasures on digital platforms and at international festivals, reinforcing Egypt's cultural leadership and its status as a prominent soft power in the region and beyond.
Ghoneim added that the company has launched an official website to manage cinematic assets, alongside a dedicated YouTube channel to stream state-owned films. It has also signed a contract with a content protection company to prevent piracy and maximise digital revenues.
Looking ahead, the next phase will involve equipping the Cinema City film lab with state-of-the-art restoration equipment, in collaboration with the Egyptian Armed Forces Engineering Authority and under the management of the Cinematic Asset Management Company. Given the scale of the project, restoration work will be split between the Heritage Restoration Center at Media Production City and the company's own lab to ensure efficiency and timely delivery.
Furthermore, the Holding Company is considering organising a dedicated festival for restored films, featuring public screenings of rare works in their newly digitised formats at specially equipped theatres, complemented by discussions and seminars with critics, writers, and artists connected to these films. The goal is to create an interactive cultural experience that deepens public appreciation for these classics and highlights their enduring place in Egyptian cinematic history.
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28 minutes ago
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‘The Africa we want is not just a dream' - Egypt - Al-Ahram Weekly
Egypt's Foreign Minister Badr Abdelatty last week toured six African countries, namely Chad, Nigeria, Niger, Mali, Burkina Faso, and Senegal, on a trip that saw important discussions with the local authorities on the part of the Egyptian business delegation that accompanied him. According to Ramadan Kurani, an expert in African affairs, this was a strategic trip for three main reasons. First, it defied allegations that Egypt's foreign policy is focused on certain regions in Africa, namely the Nile Basin, East Africa, and Southern Africa. Abdelatty's tour to West Africa, together with the visits of senior officials from Egypt and these countries during the past year, proved Egypt's willingness to boost its relations with all five regions of the continent, North Africa, West Africa, Central Africa, East Africa, and Southern Africa, he said. A second reason is the fact that West Africa is intertwined with the Sahel and Sahara, an area facing security challenges, given that both the Islamic State (IS) group and Al-Qaeda are actively present there. 'The stability of this area is directly linked to Egypt's national security,' Kurani said. Thirdly, the choice of countries included Nigeria, one of the most important economic and political powers in West Africa, Senegal, which has deep cultural and economic ties with the other West African countries, and the three Sahel states of Mali, Burkina Faso, and Niger, which are facing growing challenges in the fight against terrorism. Chad, along with Egypt, is working on establishing a road network that will link the two countries together with Libya. The two countries are cooperating on the economic and security levels to combat terrorism in the Sahel and Sahara. Egypt and Chad host the largest number of Sudanese refugees from the conflict in Sudan. Abdelatty delivered a written message from President Abdel-Fattah Al-Sisi to the heads of state he visited, reaffirming Egypt's close relations with each and with the continent as a whole. On the economic level, 30 business leaders and representatives of Egyptian companies accompanied Abdelatty on his tour. Kurani noted that this was new in Egypt's diplomacy with the African countries. He explained that while historical and cultural relations between Egypt and the African states are rich, this has not always been reflected in economic cooperation. 'The African states can benefit from cooperation with Egypt in infrastructure, energy, medicine, and education. This is win-win cooperation as the Egyptian economy would also benefit,' Kurani said. The African states, he added, have taken positive steps to attract foreign investors. The economic delegation that accompanied Abdelatty's tour had explored opportunities for Egyptian investors to enter the markets of these states, he said. He said that one of the factors that will make Egyptian investment welcome in these countries is the fact that Egypt does not have a history of occupation of any African state. 'The activation of economic diplomacy goes hand in hand with political diplomacy, which will benefit Egypt as well as the African states,' Kurani said. On the societal level, Kurani explained, the six countries included in the tour can be described as Western Islamic states or part of the Western Islamic belt of Africa. Egypt's cultural relations with these countries are strong and boosting these and enhancing Egypt's soft power there is important, he said. The community of Egyptian expats, businesses, and Al-Azhar scholars can play an influential role in enhancing ties. 'When the Arab Contractors Company, for instance, initiates a project in an African state, it usually establishes a health centre, a mosque, or an education centre as well. After completing the project, they leave these establishments as a gift to the state,' he said. Egypt's investment in these countries amounts to $2 billion, 'but our soft power also guarantees an effective Egyptian presence in these countries,' Kurani noted. The Egyptian Agency of Partnership for Development (EAPD) is very active in most of these countries. It supports Africa's developmental aspirations through capacity-building assistance, the transfer of knowledge, skills, and expertise, and the promotion of the creative industries. Meanwhile, Kurani said that Egypt will no longer be deceived by statements on the Grand Ethiopian Renaissance Dam (GERD) being built on the Upper Nile by Ethiopia. 'Today, the GERD is complete. The main issue now is not the dam itself, but the technicalities of its future operation,' he said. If Ethiopia wants a genuine solution to differences on the dam, it must have the political will to enter negotiations. There should also be legally binding regulations for all the involved parties. US President Donald Trump's statements last week aimed to affect Egypt's position on other important issues, namely Gaza and the displacement of the Palestinians, a move which Egypt has repeatedly and categorically rejected. His statements aimed at either acknowledging the righteousness of Egypt's stand on the GERD, Kurani said, or were an attempt to convince the world that he deserves a Nobel Prize. He added that Ethiopian Prime Minister Abiy Ahmed had been provocative when he invited both Egypt and Sudan to the inauguration of the GERD in September. 'The inauguration is part of a political propaganda campaign by the Prosperity Party, Ahmed's ruling party, that uses the dam as a political project to distract attention from internal and border problems.' However, Kurani expressed optimism that the restart of the negotiations may bear fruit, noting that the present negotiating environment is different from that of 2019-2020. The internal problems Ethiopia faces today, together with recent developments in Sudan, may pave the way for better outcomes, he said. 'I am not saying that we will easily get concessions from Ethiopia, but the current environment will help maintain Egypt's water security. The positive point is that Ethiopia or any other African state will think twice before causing any harm to Egypt's water security,' he said. Regarding Egypt's role in promoting the Agenda 2063 aimed at achieving an integrated, prosperous, and peaceful Africa driven by its citizens, Kurani noted that Egypt has, since 2014, worked to boost its diplomacy across Africa. Studies show that 30 per cent of President Al-Sisi's external tours have been to African states. During Al-Sisi's address to the African Union's (AU) Seventh Mid-Year Coordination Meeting held in Malabo, Equatorial Guinea, earlier this month, he called on all African countries to work collectively to overcome challenges, stating that 'the Africa we want is not a dream but a near reality.' 'Such a slogan is very important for political, cultural, and strategic détente among the African states,' Kurani said. Agenda 2063 has various targets, mainly the integration and development of the continent. With that in mind, Egypt is working on multiple areas, including improving infrastructure across the African states and establishing a free-trade zone. It is advancing these goals through two important centres: the Cairo International Centre for Conflict Resolution, Peacekeeping, and Peacebuilding and the African Union Sahel and Sahara Counter-Terrorism Centre. These centres, together with the EAPD, play key roles in supporting development according to the Agenda 2063 framework. * A version of this article appears in print in the 6 August, 2025 edition of Al-Ahram Weekly Follow us on: Facebook Instagram Whatsapp Short link:
Al-Ahram Weekly
3 hours ago
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Ziad Rahbani (1956-2025): An endless legacy - Culture - Al-Ahram Weekly
Few artists have shaped the cultural and political fabric of the Arab world quite like Ziad Rahbani, and his passing on 26 July registered among millions as a significant loss for the region's cultural heritage. A multi-talented composer, playwright and pianist as well as an outspoken political commentator, Ziad Rahbani was born in 1956 in Lebanon, in a home already marked by artistic greatness. The son of the legendary singer Fairuz (Nouhad Haddad), who turned 90 last year, and the late composer Assi Rahbani (1923–1986), Ziad inherited more than immense musical talent, he also absorbed an intense sensitivity, a sharp intellect, a critical eye, and a fearless voice for political dissent. His upbringing was steeped in the creative atmosphere shaped by the Rahbani Brothers — Assi and his brother Mansour Rahbani (1925–2009) — visionary composers from the town of Antelias, north of Beirut. Their legacy offered young Ziad not just influence and mentorship, but direct exposure to the intersection of music, theatre, and political thought from a staggeringly early age. No wonder Ziad started writing music so young; his first well-known public composition was Saalouni El-Nass (1973), performed by his mother Fairuz. From his early boundary-pushing, jazz-infused compositions to his provocative musical theatre, Rahbani emerged as the defining figure of a genre he referred to as 'Oriental jazz.' While he wasn't the first to use the label, his music transcended such classifications, fusing Eastern melodies and Lebanese folklore with Western structures in a way that was unmistakably his own. In doing so, he crafted a soundscape that was both rooted in tradition and daringly original. Rahbani's art defies creative perceptions and questions musical canons while his lyrics confront societal norms, all along capturing the pulse of Lebanese life during times of war, instability, change. Revolutionary and boldly visionary, he was also a romantic, with both qualities obvious throughout his creative life. Yet Rahbani was not so much a contradictory man but a deeply complex artist who carried within him a tangle of emotions: love and anger, clarity and confusion, tenderness and rebellion. He didn't resolve these tensions; he lived them, fully and unapologetically, channelling each into his music, theatre, writing. His work became a mirror of his inner world and the world that surrounded him; his creative voice was at times raw, at times refined, but always honest. His softer side shines through many of his songs. Who can find a more haunting and poetic piece than his over six-minute-long, slow-paced ballad Wahdon (On Their Own, 1979)? Performed by Fairuz, this meditation on solitude, memory, and loss, uses piano as protagonist, playing at the backdrop of a delicate fusion of Arabic music and jazz-influenced harmonic progressions. Is there anything more tender than Bala Wala Chi, an anthem of unconditional love so profoundly heartfelt in tone? Written with vulnerability and a quiet kind of longing, its music blends soft piano, jazz, and a minimal arrangement, to highlight the emotional weight. The song comes from Rahbani's iconic Houdou Nisbi (1985), an album that also features Khalas (It's Over), a soft adieu to love, wrapped in a ballad that drifts on soft airs of thoughtful jazz and Latin rhythms — his hallmark palette. Then there is Kifak Inta (How Are You, 1991), another emotionally charged classic among Fairuz's staple hits. While it may sound like a simple nostalgic air, many interpret its lyrics as an expression of Fairuz's pain over her son's departure. Who better than Rahbani to capture those feelings with such emotional subtlety and carefully measured lyricism? But the deeply melancholic face was just one of many facets of this profound artist. Rahbani was known for navigating the political turmoil, becoming the voice of resistance. Through the 1970s and 1980s his radio programmes were hugely influential in Lebanese culture, resonating with listeners trapped in Civil War, as he provided sharp commentary and reflection. Along parallel lines, many of Rahbani's compositions — particularly musical theatre, a form he wholly inhabited as playwright, composer, and lyricist — endure as profound reflections of his deeply rooted socio-political convictions. His reliance on Lebanese dialect was groundbreaking in making his work accessible and politically charged. In his Brechtian musical theatre, Rahbani made his voice unmistakably heard through works such as Sahriyya (An Evening's Celebration, 1973), Nuzl El-Surour (Happiness Hotel, 1974), and Bennesbeh Labokra Chou? (As for Tomorrow, What?, 1978) — the latter including eponymous music that joins jazz with Arabic and bossa rhythms. All those works were created before he had even seen his 22nd spring, and they earned him recognition, especially among his peers, a generation deeply affected by the unrest and violence of war. Far more than artistic expressions, Lebanon heard the voice of a young man full of hope, fighting for change, shedding light on the war, sectarianism, the devastation caused by conflict, political corruption, authoritarian regimes, but also the evils of capitalism, hypocrisy, neglect of the marginalised, and class disparity. His alternative, socially grounded theatre turned into a powerful critique of Lebanese civil society. In doing so, Rahbani transformed music and theatre, as he experimented with genres and forms. He courted sarcasm and a deep sense of irony intertwined with absurdism, factors that gave birth to the Rahbani style of theatre. One of that performance genre's poignant examples is Film Ameriki Tawil (A Long American Film), a play that premiered at Beirut's iconic Piccadilly Theatre in 1980. Set in a psychiatric institution in West Beirut, the play is filled with paradoxical dialogues echoing Beckett and Ionesco, with the characters trapped in the country's chaos. Two addicts, a disillusioned leftist intellectual, a nationalist, a war-time maniac militiaman, a man obsessed with uncovering 'foreign conspiracies', another fearing sectarian divisions, are among the characters who mirror Lebanon's fractured and dysfunctional post-war society. 'The events depicted in this play take place in October 1980 or October 1979 or October 1978, given that the overall political situation has generally remained unchanged.' So Rahbani commented on Film Ameriki Tawil years after its premiere. How prophetic this statement becomes when we realise that, in many ways, it is still valid nearly half a century later. The revolutionary or rather humane Rahbani continued to use his talent, in music and playwriting, to voice his views. The years to come were to see Shi Fashil (Failure, 1983) together with several changes including severe personal turmoil that only compelled Rahbani into detachment. He returned with Bikhsous Al-Karameh Wal-Shaab Al-Aaneed (On Dignity and Stubborn People, 1993), and Loula Fis'het Al-Amal (Little Hope, 1994). It was a time of a more nuanced exploration of alienation, existential doubt and the human cost of enduring conflict. The sarcasm and theatrical absurdity that once defined his plays could no longer be seen as artistic exaggerations; they had become accurate, even understated, reflections on the absurdity of the human systems he opposed. It was a time when the volatile years of a young man influenced by Marxism, his alignment with the Lebanese Communist Party (LCP), began slowly shifting towards disillusionment as he became increasingly critical of the ideological dogmatism that characterised the Lebanese and Arab left. As time passed, themes of existential introspection and isolation began to permeate his creative work. His musical journey also greatly benefitted from this personal development. If it was not for this journey, we would not have had Ila Assi (For Assi), released in 1995, an album which Ziad Rahbani created as a tribute to his father, the renowned Lebanese composer Assi Rahbani. In it, Ziad breathes new life into 18 classic songs composed by the Rahbani brothers, many performed by Fairuz. Undeniably, this work is among the greatest testimonies to the artistic legacies and personal lives of his father, who passed away in 1986 (after a 1972 stroke that marred the rest of his life), and to the whole family. Ila Assi is also one of the clear bridges that Ziad created between the golden era of his parents' generation and contemporary Lebanese music and social commentary, and one of his countless musical collaborations with his mother. Equally, Fairuz's albums Wahdon (On Their Own, 1979) and Maarifti Feek (1987) are among the greatest examples of the mother-son duo, where the Lebanese icon is artistically revitalised by her son's innovative vision, always marking a transformative chapter in both their journeys. The year of Ila Assi, another album, Bema Enno (Given That) was released, marking a continuation of Rahbani's partnership with Joseph Sakr, which began in the early 1970s through various theatrical productions and musical projects. The 14-track Bema Enno stands as a testament to their creative synergy, blending traditional Arabic rhythms and Lebanese folklore with contemporary sounds. It is yet another work that addresses struggles of identity, belonging and existential reflection, embedded in a mix of irony, melancholy and resilience. In his career, Rahbani embarked on several collaborations, with one of the most interesting being that with Lebanese vocalist Salma Al-Mosfi — resulting in Monodose, a 2001 album he produced. While the album marked a significant moment in Al-Mosfi's career, Rahbani poured his many influences into it. The 11-track work draws inspiration from French chanson and classic bossa nova, set within a mix of jazz and Arabic influences. Un verre chez nous (A Drink at Our Place), and Mish Bass Talfinly (It's Not Enough to Just Call Me) are undeniably the album's highlights, with the first being a French chanson toying with relaxed groove, the latter embedded in bossa nova. He paid another powerful tribute to his mother with Eh Fi Amal (Yes, There Is Hope, 2010), Fairuz's 99th studio album. Receiving both critical acclaim and commercial success, the album became especially important for both artists. With this work, the Lebanese icon reaffirmed her status as a musical legend, while for Rahbani, it highlighted the significance of his collaboration with his mother. It is a work that echoes themes of family, memory and personal history, beautifully capturing their intertwined lives. Though in recent years Rahbani stepped out of the public spotlight for the most part, whenever he reappeared at occasional performances on regional stages, curated jazz sessions and festivals (including in Egypt), he always mesmerised his listeners. Ziad Rahbani was a man wholly consumed by his passion for art. His sharp satire often made audiences laugh, his music soothed listeners while awakening their souls. To him laughter was a form of survival, but never an escape. His music was an extension of his being human. Whether navigating writing, composing, arrangements or theatre, there was one thing at his core: He lived through creation. Maybe like Beckett's Vladimir and Estragon, Rahbani quietly hoped for Godot to arrive, for the meaning, and while doing so, he left behind a legacy of profound awareness translated into art. Rahbani's influence runs deep through the work of countless Arab artists who both honour and expand his legacy. From Lebanese musicians like Mashrou' Leila, Yasmine Hamdan, Tania Saleh and Zeid Hamdan, to theatre-makers such as Rabih Mroué — whose work grapples with war, media, and memory — and the politically engaged Zoukak Theatre Company, Rahbani's spirit of artistic defiance and innovation lives on. Equally, it moves beyond Lebanon and enters the souls of artists from Egypt and other Arab countries. As Tania Saleh commented to the media, 'I believe it started with him, because he was already independent — of his family, of the Lebanese music scene, and even of the larger Arab world. His influences came from everywhere. He was a true first.' Rahbani's legacy transcends generations, echoing through today's traditional Arab works, the indie scene, underground hip-hop and theatrical experiments. His music is still performed, his lyrics memorised by heart, his sharp wit and emotional honesty inspiring artists across disciplines. For many, Rahbani remains a blueprint: blending Arabic music and folklore with jazz, political critique with poetic intimacy, and theatre with activism. His body of work is not only culturally essential, it is an open-ended legacy: uncannily relevant and unsettling as well as urgently alive. * A version of this article appears in print in the 6 August, 2025 edition of Al-Ahram Weekly Follow us on: Facebook Instagram Whatsapp Short link:
Al-Ahram Weekly
3 hours ago
- Al-Ahram Weekly
Programme: 22nd Bibliotheca Alexandrina Int'l Summer Festival - Music - Arts & Culture
The Bibliotheca Alexandrina's Art Centre announced the programme of the 22nd International Summer Festival, running for three weeks, from 7 to 31 August. The festival focuses on Egyptian talents, offering rich programming featuring music, film screenings, theatre plays, workshops, and seminars. The festival will open with a concert by Medhat Saleh, and until end of the month it will give stage to known artists such as Hamza Namira, Omar Khairat, Aida El-Ayoubi, Marwa Nagy, High Dam band, Gawy band, Folklorita, Fouad and Mounib, among other Egyptian names. There will be a few entries from outside Egypt, including two evenings featuring Jordanian musicians: JadaL band and Aziz Maraka, both well known to Egyptian audiences. The latter will close the festival on 31 August. German band Masaa will give a concert together with Tarek Raouf Ensemble, and will also host a workshop on music improvisation. In between the music programming, the festival will present award winning theatre plays and films - two from each genre. Check the detailed programme below: Thursday 7 August - Opening concert: Medhat Saleh, accompanied by an orchestra conducted by Amr Selim Bibliotheca Great Hall, 8:30pm Friday 8 August - Music: Andromida band Open Air Plaza, 8:30pm Saturday 9 August - Music: Hamza Namira Bibliotheca Great Hall, 8:30pm Sunday 10 August - Music: Christine Magdi Open Air Plaza, 8:30pm - Film: Abo Zaabal 89 (2024) Bibliotheca Auditorium, 7pm Tuesday 12 and Wednesday 13 August - Music: Omar Khairat Bibliotheca Great Hall, 8:30pm Wednesday 13 August - Seminar: The role of the Music Composer Bibliotheca Auditorium, 6pm Thursday 14 August - Music: Samar Tarik Open Air Plaza, 8:30pm - Theatre play: Al-Khawaga Bibliotheca Great Hall, 8:30pm Friday 15 August - Music Triple Bill: High Dam band, Gawy band, Moga band Open Air Plaza, 8:30pm Saturday 16 August - Music: Yassin Mahgoub Open Air Plaza, 8:30pm - Standup comedy: Omar El-Gamal Bibliotheca Great Hall, 8:30pm Sunday 17 August - Music: Sound Track Orchestra and Brass Band Open Air Plaza, 8:30pm - Film: Seeking Haven For Mr. Rambo (2024) Bibliotheca Auditorium, 6pm Monday 18 August - Music: Hafez w Boustan Open Air Plaza, 8:30pm - Storytelling performance Bibliotheca small theatre, 8:30pm Tuesday 19 August - Music: Aida Al-Ayoubi Bibliotheca Great Hall, 8:30pm Tuesday 19 and Thursday 20 August Workshop: Music improvisation with Masaa band (Germany) Bibliotheca Alexandrina: Location to be specified Wednesday 20 August Music: Folklorita band Open Air Plaza, 8:30pm Thursday 21 August - Music: Masaa band (Germany) and Tarek Raouf Ensemble Open Air Plaza, 8:30pm - Standup comedy: Irtigalia troupe Bibliotheca small theatre, 8.30pm Friday 22 August - Music: Sohba Semsemia Open Air Plaza, 8:30pm Saturday 23 August - Music: Marwa Nagy Open Air Plaza, 8:30pm - Theatre play: Macbeth Factory Bibliotheca Great Hall, 8:30pm Sunday 24 August - Music: JadaL band (Jordan) Open Air Plaza, 8:30pm Sunday 24 - Thursday 28 August - Masterclass: Italian and French Operas singing techniques, led by Sobhi Bidair Bibliotheca Alexandrina: Location to be specified Monday 25 August - Music: Fouad and Mounib Bibliotheca Great Hall, 8:30pm - Dance performance: Trio Open Air Plaza, 8:30pm Tuesday 26 August - Poetry and music evening: Amani Mahfouz and Dafayer Troupe Bibliotheca small theatre, 8:30pm Wednesday 27 August - Music: Manal Mohie Eldin and her Oriental Strokes Ensemble Open Air Plaza, 8:30pm Thursday 28 - Saturday 30 August Workshop: Theatrical character, from text to stage, led by Moatazza Abdel Sabour Bibliotheca Alexandrina: Location to be specified Thursday 28 August - Music: Hadra, Sufi chanting troupe Open Air Plaza, 8:30pm Friday 29 August - Music: Bahgaga band Open Air Plaza, 8:30pm Saturday 30 August - Music: Samaey band Open Air Plaza, 8:30pm - Dance performance Bibliotheca Great Hall, 8:30pm Sunday 31 August - Closing concert: Aziz Maraka Open Air Plaza, 8:30pm Follow us on: Facebook Instagram Whatsapp Short link:
