Egyptian thriller ‘The Settlement' competes at FESCAAL in Italy
The social thriller is Mohamed Rashad's first narrative feature, following his 2016 documentary 'Little Eagles'.
Mohamed Rashad's Egyptian workplace thriller The Settlement will compete in the official selection of the African, Asian and Latin American Film Festival (FESCAAL) in Italy, running from March 21 to 30.
During the festival, The Settlement will have two screenings: on March 27 at 7 PM at Cineteca Milano Arlecchino and on March 28 at 9 PM at Cinema Teatro Cristallo in Cesano Boscone. Director Mohamed Rashad will be present for exclusive Q&A sessions following both screenings, offering insights into the filmmaking process and behind-the-scenes anecdotes.
Inspired by true events, The Settlement tells the story of two brothers—23-year-old Hossam and his 12-year-old sibling Maro—who, after their father's fatal workplace accident, are offered jobs at the local factory in lieu of their family seeking legal recourse. As they integrate into their new environment, unsettling questions arise about the true nature of their father's death.
Rashad, a native of Alexandria whose father worked in textile factories for over four decades, was moved by a real-life account of a law graduate whose family was pressured into waiving their legal rights following a similar tragedy. Seeing a powerful opportunity to explore workplace safety violations and exploitative labour practices, Rashad transformed this story into a tense and thought-provoking cinematic experience.
The Settlement features Adham Shukr, Ziad Islam, Hajar Omar, Mohamed Abdel Hady and Emad Ghoneim. The film's visuals are crafted by cinematographer Mahmoud Lotfi, while editor Heba Othman—known for her work on the acclaimed Sudanese film Goodbye Julia—brings the story to life through editing.
Produced through an international collaboration spanning Egypt, France, Germany, Qatar and Saudi Arabia, The Settlement is led by producer Hala Lotfy of Hassala Films (Cairo) alongside co-producers Etienne de Ricaud of Caractères Productions (Paris), Kesmat Elsayed of Seera Films GmbH (Berlin) and ART (Jeddah). The film's worldwide sales are managed by MAD World, with MAD Distribution handling its release in the Arab world.
During its development, The Settlement garnered support from numerous international funding bodies, including the Berlinale World Cinema Fund, IFFR's Hubert Bals Fund Script and Development Initiative, Hubert Bals Plus Co-Production Minority Support, Doha Film Institute, Arab Fund for Arts and Culture, Red Sea Development Fund, Fonds Image De La Francophonie, and El Gouna Film Festival's CineGouna Platform.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Sharjah 24
14 hours ago
- Sharjah 24
Sharjah builds cultural bridges between Africa and the Arab world
Amid a time when Arabic poetry faces marginalisation in parts of Africa, Sharjah's forward-thinking initiatives have restored Arabic literature to its rightful place—as a vessel of identity, a tool for dialogue, and a platform for human expression. Coordinators praised the vision behind the Arabic Poetry Forums in Africa—an initiative launched by His Highness Sheikh Dr Sultan bin Mohammed Al Qasimi, Supreme Council Member and Ruler of Sharjah—which has marked the beginning of a new cultural era across the continent. These forums have given hundreds of poets opportunities for visibility, documentation, and publication through structured programmes led by Sharjah's Department of Culture in collaboration with local cultural bodies. Coordinators in nine African nations—Mali, Chad, Guinea, Niger, Nigeria, South Sudan, Benin, and Côte d'Ivoire—shared updates on preparations for the fourth edition of the poetry forums, set to begin this month. Plans are underway for expanded poet participation and accompanying cultural events. Reviving the Arabic language through poetry Dr Abdelkader Idriss Mega, coordinator of the Arabic Poetry Forum in Mali, described Sharjah's initiative as a pioneering model that reflects the wide-reaching cultural vision of His Highness the Ruler of Sharjah. He noted that the initiative is more than just a poetry festival—it is a genuine platform for reviving the Arabic language in historically Arabic-speaking communities. Dr Mega highlighted the forums' role in elevating poetry as a cultural force in Mali, a country where African depth intersects with Arab-Islamic heritage. 'Sharjah's support represents a living example of Afro-Arab cultural integration, and a genuine embodiment of His Highness's vision for building literary bridges across the region,' he said. 'It has granted African poets a worthy platform, embraced their talents, and nurtured creativity in a respectful, professional atmosphere.' He emphasised the clear impact: a vibrant poetry movement, an interactive cultural space blending authenticity and openness, and a rejuvenated local cultural scene that had long suffered from stagnation. Looking ahead to Mali's fourth poetry forum Dr Mega stated that Mali's Arabic Poetry Forum continues to grow in terms of organisation, content, and participation. The number of poets has doubled this year, drawing a rich mix of emerging and established voices from across the country. The fourth edition will welcome between 15 and 20 poets from Bamako and other regions. What sets this edition apart is the broader participation and more diverse poetic styles, alongside growing public interest. The forum has drawn the attention of prominent figures, intellectuals, academics, university students, and media professionals, giving it greater cultural and institutional weight. The accompanying programme includes poetry readings, literary discussions, and workshops on Arabic poetic techniques, in addition to interactive sessions between poets and the public—fostering cultural exchange and deepening aesthetic appreciation for poetry. Cultural renewal through Sharjah's literary vision Dr Ahmed Abou El Fath Othman, coordinator of the Arabic Poetry Forum in Chad, described Sharjah's support for Arabic poetry in Africa as a shining example of Arab cultural integration. He praised the leadership of His Highness the Ruler of Sharjah for reinforcing the Arabic language and culture across both Arabic-speaking regions and beyond. He noted that the poetry forums, organised by the Department of Culture in Sharjah, have contributed to shaping a renewed cultural landscape by creating spaces for creative exchange and restoring poetry's role as a tool of expression, awareness, and identity-building. The upcoming fourth edition of the poetry forum in Chad, according to Dr Abou El Fath, marks a significant milestone. While 32 poets participated last year, this year's forum is expected to feature over 40 poets, selected from more than 200 submissions. The selection criteria focus on high-calibre classical Arabic poetry. This year's edition is noteworthy for bringing together poets from various regions of Chad on a single platform to share their work with an engaged and appreciative audience. The forum has also opened doors for emerging voices, with many young and aspiring poets seizing this opportunity to prove their talent. Dr Abou El Fath highlighted that some of these poets, after participating in the Chad forum, went on to take part in international poetry gatherings—raising their country's profile on broader cultural stages. He affirmed that none of this would have been possible without Sharjah's generous and strategic support for Arabic culture in Africa. 'We extend our heartfelt thanks and appreciation to Sharjah, a beacon of knowledge and creativity, for continually championing Arab literary excellence and broadening its horizons,' he said. A deep encouragement for African Arabic poetry Dr Kaba Imran, coordinator of the Arabic Poetry Forum in Guinea, expressed how African Arabic poetry is now "breathing freely" again, receiving recognition and honour from an Arab nation—specifically from His Highness Sheikh Dr Sultan bin Mohammed Al Qasimi, Supreme Council Member and Ruler of Sharjah. 'This is a profound source of encouragement for a form of poetry that had long been absent from the African cultural scene,' he said. He noted that the fourth edition of the forum will welcome many new poets. Previously, participation was limited to poets from the capital region, but now, the event draws poets from across all regions of Guinea and even from outside the country. Thanks to the forum, many poets have gained new confidence in their talent and literary voice—especially first-time participants. Dr Imran confirmed that these gatherings have inspired poets with ambitious new horizons and a growing cultural awareness with meaningful impact. Celebrating poetic beauty in Niger Dr Amadou Ali Ibrahim, cultural coordinator in Niger, hailed Sharjah as a cultural capital that continues to celebrate the enduring power of poetry, thanks to the unwavering support of His Highness the Ruler of Sharjah. He said the Arabic poetry forums in Africa have been a resounding literary success from the start, leaving a clear cultural imprint across the continent and growing stronger with each edition. Dr Ibrahim expressed hope that this year's forum in Niger will spotlight new poetic talents and attract a larger audience, particularly among Arabic language students in the country. As in previous years, the event will feature two poetry sessions enriched by critical commentary—offering aesthetic insights into the poems—and a literary lecture exploring the Arabic language and its social dimensions within Niger. He is optimistic that this edition will see a stronger poetic presence, not only in the number of poets attending from across the country but also in the strength and beauty of the Arabic poems being shared. 'The forum has become a stage for Niger's promising poetic voices to shine and grow,' he said. Enrichment and empowerment in Nigeria Dr Omar Adam, coordinator of the Arabic Poetry Forum in Nigeria, highlighted the profound impact of Sharjah's support—under the guidance of His Highness the Ruler of Sharjah—on enriching the cultural scene across Africa. Through the forums, a deeper appreciation for the Arabic language and its literary traditions has taken root in multiple African nations. He noted that this support has enabled poets to refine their craft, moving beyond traditional forms to embrace modern poetic techniques aligned with global literary currents. The upcoming fourth edition of the poetry forum in Nigeria marks a significant cultural moment, building on the success of previous editions and further promoting Arabic poetry and cross-cultural dialogue. Thanks to financial and institutional backing from Sharjah's Department of Culture, several Nigerian poets have published Arabic poetry collections—many for the first time—showcasing a flourishing literary presence in the country. 'This year, we've witnessed an unprecedented number of applications, surpassing those of all previous editions combined,' said Dr Adam. 'It's a clear sign of how deeply these forums have energised the creative spirit and helped develop local poetic talent.' He added that the forum, supported by Sharjah, has spotlighted poetic voices from all regions of Nigeria. 'What began as a symbolic initiative has now become a dynamic platform for Nigerian poets, including those who are not native Arabic speakers, to share their work and connect with the wider Arab literary world. This effort not only preserves heritage but also drives forward a new wave of poetic creativity rooted in rich literary traditions.' Beyond boundaries: Côte d'Ivoire celebrates Arabic verse Dr Bamba Issiaka, coordinator of the Arabic Poetry Forum in Côte d'Ivoire, said Sharjah's cultural initiative transcends borders and languages, empowering genuine creativity through sustained support, openness to new voices, and a dynamic blend of literary creation and critique. He affirmed that the forums serve as a model for cultural collaboration, showing that poetry still holds the power to build bridges and reshape collective awareness. 'The Arabic Poetry Forum has become a major annual cultural event in Côte d'Ivoire, eagerly anticipated by the public,' he said, citing strong participation from university students and the emergence of talented young poets. According to Dr Issiaka, Sharjah's support does more than offer financial assistance—it maps out a long-term vision for Arabic poetry in Africa. The fourth edition of the forum, he noted, will mark a qualitative leap in the country's cultural scene, with new voices and cities taking part, reflecting the forum's continued growth and expanding reach. A cultural continuum in South Sudan Dr Mohammed Maj Riak, coordinator of the Arabic Poetry Forum in South Sudan, described Sharjah's backing of Arabic poetry in Africa as part of a broader cultural vision that embraces creativity in all its forms. This support, he said, helps reaffirm the value of poetry as a means of expressing identity and collective memory. He noted that the forums have added significant value to South Sudan's cultural landscape. 'For this year's edition, we've widened participation to include poets from different generations and schools of thought, with a discerning and appreciative audience engaging closely with the sessions,' said Dr Riak. The accompanying events will include literary workshops, critical forums, and public discussions to enhance interaction between poets and audiences. He stressed that the initiative has played a pivotal role in bringing attention to lesser-known voices and given them opportunities to connect with leading figures from the Arab literary world—broadening their cultural horizons and artistic growth. Tangible momentum in Senegal Dr Mohamed El Hadi Sall, coordinator of the Arabic Poetry Forum in Senegal, described Sharjah's patronage of Arabic poetry in Africa as a pioneering initiative rooted in a genuine belief in the power of words and their role in bridging cultures. He noted that the support went beyond financial assistance—it was a powerful moral boost that helped elevate local cultural identity and revive interest in Arabic poetry. 'The forums supported by Sharjah created real cultural momentum,' Dr Sall said. 'They opened new spaces for expression and dialogue, allowing a broader audience to engage with poets and their work.' He added that the fourth edition brings greater energy and diversity, with poets from various schools and experiences, along with a rich cultural programme including poetry readings, critical discussions, and parallel artistic performances. 'This year's audience is more engaged and informed than ever, which reflects a growing connection between the public and poetic expression. The event has also drawn strong attention from the cultural community, media, and social networks—clear proof that the forum has become a major annual cultural highlight.' Sustained support in Benin Dr Ibrahim Ogboun, coordinator of the Arabic Poetry Forum in Benin, said that no discussion of Arabic poetry in Africa today would be complete without acknowledging the vital role of Sharjah. Through its thoughtful cultural initiatives, the emirate has consistently supported the written word and strengthened its presence in the public sphere. He explained that Sharjah's support has evolved into a comprehensive cultural project, offering renewed energy to literary platforms across the continent. 'The poetry forums held under Sharjah's patronage are not seasonal events,' Dr Ogboun stressed. 'They have become a genuine driver of the poetic scene, offering space for experimentation, dialogue, and public engagement.' Speaking about the fourth edition, he added: 'With strong attendance and a wide variety of participants, the forum in Benin is moving confidently toward establishing itself as a leading cultural event in the country. This year's edition will stand out in both format and content, with a larger number of poets and a dynamic series of events including poetry evenings, critical sessions, and open dialogues between creators and a poetry-hungry audience.' Sharjah's initiative, he said, has opened new doors for local poets and introduced fresh voices to the broader Arab poetic tradition. 'The forum has become a true platform for discovering talent and exchanging experiences. Many poets have spoken about how this opportunity transformed their work—whether through new publishing avenues or invitations to take part in Arab literary festivals.'
Gulf Today
2 days ago
- Gulf Today
Evaristo wins accolades for breaking literary boundaries
Bernardine Evaristo doesn't like boundaries. For the Booker Prize-winning novelist, rules about genre, grammar or what a working-class biracial woman can achieve are all to be challenged and swept away. Evaristo was announced on Wednesday as recipient of the 100,000-pound ($135,000) Women's Prize Outstanding Contribution Award for her 'transformative impact on literature and her unwavering dedication to uplifting under-represented voices.' Evaristo, 66, received the prize both for her work to help promote women and writers of colour, and for writing that takes in poetry, a memoir and seven novels including the Booker-winning 'Girl, Woman, Other.' 'I just go wherever my imagination takes me,' she said. 'I didn't want to write the kind of novels that would take you on a predictable emotional or moral journey.' Evaristo had already explored autobiographical fiction, historical settings and alternate realities when she won the Booker in 2019 for 'Girl Woman, Other,' a polyphonic novel told from the point of view of a dozen characters, largely Black women, with widely varying ages, experiences and sexualities. She was the first woman of African heritage to be awarded the prize, which was founded in 1969 and has a reputation for transforming writers' careers. When she won, Evaristo was 60 and had been a writer for decades. She says the recognition 'came at the right time for me.' 'Maybe I wouldn't have handled it so well if I was younger,' she told The Associated Press at her London home. 'It changed my career — in terms of book sales, foreign rights, translation, the way in which I was viewed as a writer. Various other opportunities came my way. And I felt that I had the foundations to handle that.' Evaristo's house on a quiet suburban street is bright and comfortable, with wooden floors, vibrant textiles and a large wooden writing desk by the front window. Large photos of her Nigerian paternal grandparents hang on one wall. Her work often draws on her roots as the London-born child of a Nigerian father and white British mother. Like much of Evaristo's work, 'Girl, Woman, Other' eludes classification. She calls it 'fusion fiction' for its melding of poetry and prose into a novel that relishes the texture and rhythm of language. 'I kind of dispense with the rules of grammar,' she said. 'I think I have 12 full stops in the novel.' If that sounds dauntingly experimental, readers didn't think so. 'Girl, Woman, Other' has sold more than 1 million copies and was chosen as one of Barack Obama's books of the year. Evaristo traces her love of poetry to the church services of her Catholic childhood, where she soaked up the rhythms of the Bible and sermons, 'without realizing I was absorbing poetry.' When she started writing novels, the love of poetry remained, along with a desire to tell stories of the African diaspora. One of her first major successes, 'The Emperor's Babe,' is a verse novel set in Roman Britain. 'Most people think the Black history of Britain only began in the 20th century,' Evaristo said. 'I wanted to write about a Black presence in Roman Britain — because there was a Black presence in Roman Britain 1,800 years ago.' Another novel, 'Blonde Roots,' is set in an alternative historical timeline in which Africans have enslaved Europeans, and was nominated for a major science-fiction award. 'Mr Loverman,' was an attempt to move beyond cliched images of Britain's postwar Caribbean immigrants. It was recently made into a BBC television series starring Lennie James and Sharon D. Clarke. Her latest award is a one-off accolade marking the 30th anniversary of the annual Women's Prizes for English-language fiction and nonfiction. Women's Prize founder Kate Mosse said Evaristo's 'dazzling skill and imagination, and her courage to take risks and offer readers a pathway into diverse and multifarious worlds over a 40-year career made her the ideal recipient.' Evaristo, who teaches creative writing at Brunel University of London, plans to use the prize money to help other women writers through an as-yet undisclosed project. She has long been involved with projects to level the playing field for under-represented writers, and is especially proud of Complete Works, a mentoring program for poets of color that she ran for a decade. Associated Press
Gulf Today
4 days ago
- Gulf Today
Renowned Egyptian actress Samiha Ayoub passes away at 93
The renowned Egyptian actress Samiha Ayoub passed away on Tuesday, June 3, 2025, at the age of 93. Ayoub was one of the giants of Arab theatre, with a distinguished artistic career spanning from 1947 until her passing, encompassing theatre, cinema, and television. No official statement has been issued regarding the cause of her death. However, in early May, rumors circulated suggesting she was battling breast cancer. In a phone interview, Ayoub denied these rumors, stating: 'All these are false reports. I am in good health, and instead of spreading nice rumors, people spread bad ones.' She affirmed that her health was stable and denied any reports of suffering from tumors. Despite several media outlets reporting that she had breast cancer, Ayoub never officially confirmed the diagnosis. In previous remarks, she stated that she was in good health and continued to follow up with her doctor for treatment. She also expressed her eagerness to return to her audience with new and diverse roles. Speculation about her health intensified after she was recently seen with swelling in her hands, reportedly a result of lymphedema—a condition common among breast cancer patients. Lymphedema typically occurs following the removal of lymph nodes, leading to fluid retention and swelling in the affected limb. Ayoub was born on March 8, 1932, in the Shubra district of Cairo. She graduated from the Higher Institute of Dramatic Arts, where she was mentored by the renowned theatre director Zaki Tulaimat. He introduced her to the stage while she was still a student, casting her in the play Khedmet El-Malika (The Queen's Service), which marked the beginning of her artistic journey. Throughout her illustrious career, Ayoub starred in numerous plays, including Siket El-Salama, El-Sebnsa, El-Nadam, Phedra, El-Wazeer El-Aasheq, and El-Soltan El-Haer. She served as the director of the Modern Theatre in 1972 and later managed the National Theatre from 1975, holding the position for 14 years. Her theatrical repertoire included 170 plays, five of which she directed, including Maqalib Atia. Ayoub's legacy remains a cornerstone of Arab theatre and cinema, leaving behind an indelible mark on the artistic world.
