Why Egypt isn’t submitting any films for the 2023 Academy Awards

Why Egypt isn’t submitting any films for the 2023 Academy Awards
Egypt has decided not to submit any titles for the Best International Feature Film category at the upcoming Academy Awards. (Shutterstock)
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Updated 03 October 2022

Why Egypt isn’t submitting any films for the 2023 Academy Awards

Why Egypt isn’t submitting any films for the 2023 Academy Awards

CAIRO: Despite playing host to two of the Arab world’s most prestigious film festivals, as well as being famous for its storied film industry, Egypt has decided not to submit any titles for the Best International Feature Film category at the upcoming Academy Awards, with industry insiders telling Arab News the decision was a difficult one.

The members of the film selection committee, which falls under the Cinema Professionals Syndicate, decided to opt out of the running for the Oscars, which will be held on March 12, 2023. However, some critics did voice their support for a clutch of films.

Art critic Faiza Hindawi, a member of the committee, told Arab News that one film which generated huge buzz was Nadine Khan’s “Abu Saddam.” However, the film failed to make the cut due to strict regulations about its release date.

“‘Abu Saddam’ was not on the list of the four films closest to nomination due to its non-compliance with the conditions and regulations stipulated in the awards, including the date of the screening. One of the conditions is that the film was shown in the year 2022 and, unfortunately, ‘Abu Saddam’ was shown last year,” Hindawi explained.

“We are bound by conditions that must be met in the works that are nominated, procedural conditions (as well as) technical conditions, meaning that the films that meet the procedural conditions are presented to us to choose from, and the list did not contain ‘Abu Saddam,’” she added.

A few of the titles floated for consideration this year included “Kira Waljen” directed by Marwan Hamed; “Qamar 14” directed by Hadi El-Bagoury; “The Crime” directed by Sherif Arafa; and “2 Talaat Harb” directed by Magdy Ahmed Ali.

Egyptian producer, scriptwriter and member of the Academy of Motion Picture Arts and Sciences Mohamed Hefzy added that despite a bevy of commendable films released in 2022, none were nominated due to the high standard of films that will compete from around the world.

Mohamed Hefzy shared his thoughts on the lack of an Egyptian submission this year. (AFP)

“The committee that made the decision included more than 30 filmmakers, and it is clear that the films presented to them did not live up to their expectations to be nominated for the Oscars,” he told Arab News.

“As a person who is a member of the Academy, and those who vote for the best international film, I can say that the level of the 90 films that compete every year for Oscars from all over the world are well-made films, so the competition is very tough, and in my opinion when there aren’t any Oscar-worthy movies worth nominating it’s better to not nominate any,” he added.

Previous films submitted for Oscars consideration by Egypt include “Soad” (2019), “Youm El Din” (2018) and “Sheikh Jackson” (2017), among others.

Cinematic history in the making as Red Sea International Film Festival rolls out the red carpet  

Cinematic history in the making as Red Sea International Film Festival rolls out the red carpet  
Sharon Stone on the RSIFF red carpet. (Arab News)
Updated 01 December 2022

Cinematic history in the making as Red Sea International Film Festival rolls out the red carpet  

Cinematic history in the making as Red Sea International Film Festival rolls out the red carpet  

JEDDAH: Hollywood, Bollywood and Arab stars hit the red carpet at the opening ceremony of the Red Sea International Film Festival on Thursday, kicking off 10 days of glitz and glamor. 

US actress Sharon Stone, British director Guy Ritchie, US icon Oliver Stone, Lebanese director Nadine Labaki and Bollywood superstar Shah Rukh Khan all appeared at the event, as did Egyptian icon Yousra, Indian composer A.R. Rahman and Bollywood star Kajol.

They were joined on the red carpet by actress Priyanka Chopra, Egyptian Montenegrin actress Tara Emad, Saudi actress Mila Al-Zahrani and Egyptian star Salma Abu-Deif, as well as Lebanese celebrity designer Zuhair Murad and Lebanese singer Maya Diab.


Shah Rukh Khan was on hand to receive an honorary award for his contributions to the film industry.


Shah Rukh Khan. (Arab News)

This year, the festival is being held in The Ritz-Carlton hotel overlooking the picturesque Jeddah Waterfront. Filmmakers, actors, directors, and the cohort of professionals who keep the wheels of the cinematic industry turning all came together for a sparkling night.  

Mohamed Diab, an Egyptian screenwriter and the director behind Marvel’s “Moon Knight,” spoke to Arab News on the red carpet about the importance of the festival.

“This is a light at the end of the tunnel for a lot of people. I think for young film makers having something outside the commercial aspect of film making (is important). If you are Saudi or Egyptian and you do something commercial you can make it but if there is something international or a passion project that you believe in that is not something you can get funding (for) easily, I think there is opportunity for you here.”

He also spoke about 2022’s “Moon Knight,” the Marvel Cinematic Universe’s first Arab story.

“I saw how it inspired the Arab youth so I want to repeat that again. I am opening so many doors and I am very happy about that,” he said.

Saudi Director and actor Ibrahim Al Hajjaj, who has two films screening at the festival this year, said: “I’m really happy to be here, super excited that I have two movies in this edition. I am excited and I hope people do like the film,” he said of “Sattar” and “Khallat Plus.”

For her part, Indian actress Shabana Azmi shared her excitement about the festival’s opening film, “What Has Love Got To Do With It?”

 “It’s a huge honor and I am very excited, and I had never known or dreamt that such a day would arrive and that’s why it is very exciting and I do hope people love the film as much as we were excited making it.”

“We have very great actors and directors and that is why I hope tomorrow’s cinema will be all encompassing, all embracing, all inclusive, we no longer can live in the divide between the West and the East. We need to become a global village and art is the way you can do it,” she added.

This year’s theme is “Film Is Everything,” which celebrates movies not just as means of entertainment but as a tool that brings cultures together, allows young creatives to express themselves, and gives people the opportunity to grow. 

The festival is divided into 11 sections designed to showcase Arab and international cinema, as well as television and VR. The sections include Competition, Shorts Competition, New Saudi, International Spectacular, Arab Spectacular, Festival Favorites, Virtual Reality, Treasures, Families and Children, New Vision, and Series.  

The festival is set to showcase 131 feature films and shorts from 61 countries, in 41 languages, made by established and emerging talents. Seven feature films and 24 shorts from Saudi Arabia will also be shown. 

US Levantine artist Sarah Awad: ‘What’s exciting about painting is the sense of the unknown’ 

US Levantine artist Sarah Awad: ‘What’s exciting about painting is the sense of the unknown’ 
Sarah Awad's "Cosmic Harmonizers" (2022). (Supplied)
Updated 01 December 2022

US Levantine artist Sarah Awad: ‘What’s exciting about painting is the sense of the unknown’ 

US Levantine artist Sarah Awad: ‘What’s exciting about painting is the sense of the unknown’ 
  • The Los Angeles-based painter discusses her first show in the Middle East 

DUBAI: Los Angeles-based painter Sarah Awad was born to a Lebanese-Syrian father and a Lebanese mother. Despite her Levantine-Arab roots, however, she only made her first visit to the Middle East in November, to install her show at The Third Line in Dubai, “Rainbow Clearance and Other Paintings,” which will occupy the gallery’s two floors until Dec. 16.  

“The thing that really struck me about Dubai was the international community and how vibrant and diverse it is,” Awad tells Arab News. “People are really hospitable, warm and engaged. They come and they participate. It feels small, because everyone knows each other and supports each other.”  

Sarah Awad. (Supplied)

Awad has been interested in art since childhood. “Art education in the States is not great and my family are not artists, but my mom always exposed me to creative projects,” she says. “For some reason, when I was a kid, I knew I was going to be a painter. 

“I don’t think I can imagine doing anything else. I think painting is both a joy and a gift, and also a source of tension, because there’s always a sense of not being satisfied or feeling like there’s still questions and something unresolved,” she continues. “I think what is exciting to me about painting is the sense of the unknown. To make a great painting, you have to experience not knowing.” 

The works in the exhibition demonstrate Awad’s practice of layering and merging shapes, colors and faces together. The form is free-flowing and bold, marked with thick, fearless brushstrokes. The use of color — she isn’t afraid of juxtaposing light and dark — is a constant theme in her work. “An initial starting point for me is thinking about the palette and color relationships. Sometimes, it doesn’t work,” she says with a laugh.  

Sarah Awad's "Phantom Web" (2022). (Supplied)

“I’m really interested in a color that doesn’t feel like it should work but does,” she continues. “It’s all about how they work in relationship to one another. In much of the work, you’ll see a really vibrant, saturated color that is sort of offset by a more neutral color, or a color coming through other colors, carving out its own niche. I like that to be a surprising moment in the painting.” 

While the paintings contain elements of abstraction and figuration, Awad refrains from labeling her style. “I don’t have a categorization for it. I think it situates itself along certain lines of questions that painters had, historically, about abstraction,” she says.  

“They’re not process-based paintings, but at the same time, they use intuition and language that stems from (abstract expressionists) Helen Frankenthaler or Willem de Kooning — this kind of way of responding to materiality and then imposing a conscious structure to the work. It’s not just about material improvisation, or accident, it’s also about intention,” Awad continues. 

"Neon Pulse" (2022). (Supplied)

At times, it seems as though there may be hidden figures in some of Awad’s work. Some are in intimate conversations, while another is looking straight at the viewer or is lost in thought. Each image seems to have a story of its own.  

“I think they’re kind of open-ended. The way that I think about their situating in the painting is often just a gesture,” Awad says. “They’re gestures of intimacy but also of looking — the act of looking. I think that there’s a way in which they ask you to kind of engage with them and the painting.” 

In recent years, the contemporary art scene has changed, with large installations and on-site projects that are more likely to get picked up by social media becoming increasingly popular. There is something humble, then, in Awad’s back-to-basics approach to staging her work, allowing viewers to contemplate the images directly and appreciate once again the art of painting.  

“I haven’t found a need to do other things,” says Awad. “I find painting to be so challenging as a discipline and so rich that you can stay inside that box for your whole life and still never find the edges of it. I think the reason it feels sort of anarchic in today’s world is that it takes time, and I don’t know if the younger generation is conditioned for that.”

Music producer RedOne scores 2022 World Cup winning song

Music producer RedOne scores 2022 World Cup winning song
Updated 01 December 2022

Music producer RedOne scores 2022 World Cup winning song

Music producer RedOne scores 2022 World Cup winning song
  • Single ‘Dreamers’ tops iTunes, Spotify charts
  • Moroccan-Swede’s hit performed by BTS band

LONDON: RedOne, the superstar music producer and award-winning songwriter, is celebrating a major victory off the pitch at the World Cup, with his new single becoming the most successful song of football’s premier event.

The single “Dreamers” of the hit-maker, who has Moroccan and Swedish heritage, was recorded by South Korean boy band BTS member Jung Kook, and is part of the official World Cup soundtrack. It reached No. 1 on the iTunes chart in more than 100 countries and is also No. 1 on Spotify’s chart worldwide.


A post shared by RedOne (@redone)

“Dreamers,” partnered by Katara Studios, was performed at the opening ceremony in the Al-Bayt Stadium in Doha.

The single has taken the internet by storm since its release, and its official video, which debuted on Nov. 22, received 20 million views in its first 24 hours and 35 million views within five days.

A second single “Arhbo,” featuring Ozuna and Gims, and also in partnership with Katara Studios, is another anthem from the World Cup soundtrack and was used for the players’ entrance into the stadium.


A post shared by RedOne (@redone)

“The Official FIFA World Cup soundtrack was the brainchild of RedOne, who was appointed Creative Entertainment Executive of FIFA in December 2021,” a FIFA statement said.

“Tasked with forging new and significant connections between football fans, music fans, players and artists, RedOne, who is one of the most influential figures in modern music history, has successfully harnessed his considerable gifts and a network of talent to deliver a project that unites football fans, regardless of where they come from,” it added.

In addition to Jung Kook from BTS, RedOne selected artists including Ozuna and Davido, with whom to collaborate.

RedOne, whose name is Nadir Khayat, said: “First and foremost, I am a huge football fan, so to be part of the World Cup is a profound honor. Music is synonymous with football — the emotion, the passion, the euphoria, the unexpected, the harmonious beauty, even the moments of deep reflection. And like football, music is also a universal language, it can break down barriers and truly unite people.”

As part of the official soundtrack, RedOne released the song “Hayya Hayya” (“Better Together”), which has been rocking stadiums pre-match throughout the tournament.

The track features Afrobeats icon Davido, Qatari sensation Aisha and US breakout artist Trinidad Cardona, and combines influences from around the world including R&B and reggae.

“The World Cup is a festival as well as a competition, so when I signed up with FIFA, I wanted to capture that collective spirit. I had a vision and concept to write and produce the first-ever official soundtrack for the World Cup, collaborating with talent from both the region and from around the world,” RedOne added.

Emirati painter Almaha Jaralla explores grandmother’s journey at art fair

Emirati painter Almaha Jaralla explores grandmother’s journey at art fair
Almaha Jaralla’s “Aida” (2022). (Supplied)
Updated 01 December 2022

Emirati painter Almaha Jaralla explores grandmother’s journey at art fair

Emirati painter Almaha Jaralla explores grandmother’s journey at art fair

DUBAI: In the 1970s, a bold and adventurous young woman from Yemen named Shadia drove by herself across the Arabian Peninsula — from Aden to Kuwait and eventually to the UAE — seeking a better life.  

Today, her granddaughter, the Emirati painter Almaha Jaralla, is telling Shadia’s story through a series of figurative paintings that were on display at the 2022 edition of Abu Dhabi Art in November.  

"Ba Suban." (Supplied)

“I wanted to go back to my past by looking at the family archives, not just to look at my family background, but also to understand the modern history of the Gulf,” Jaralla tells Arab News.  

Jaralla scoured grainy old snapshots of Shadia — with her elegant frocks and striking jet-black hair — taken in several Gulf states, as well as in Cairo, where she studied at a time when her homeland was emerging from British occupation and moving toward becoming a socialist state.  

“It’s, like, this lost history that no one talks about. It was so recent,” says Jaralla. “It can be a very heavy subject but talking about it can be a good introduction to have a bit of curiosity of how people lived through those days.”  

Almaha Jaralla's 'Untitled' (2022). (Supplied) 

Despite the political climate in the country, there were some liberties, socially. “When people hear about Yemen, they will have this idea that it’s conservative,” she says. “My grandmother studied outside — like lots of other women — and wore beautiful dresses. It was very normalized. To me, the pictures were shocking, but it was just a different time, that’s why I didn’t understand it.”    

Some of Jaralla’s new paintings are based on the photographs, showing Shadia with family and strangers she encountered along her journey. “Even my mom was surprised that she used to go out and talk to people and have fun,” says Jaralla. “I feel that’s what started the whole show, seeing her in Kuwait having fun. She didn’t care if she was surrounded by men or women. She would talk to everyone.” 

In one image, a group of people are huddled inside a lime green car. “That was from the Kuwait trip. She was there for work training. Seeing my grandmother driving men in the car was just surreal,” Jaralla says with a chuckle. 

Almaha Jaralla. (Supplied)

One of the show’s key works is “Al Dayan,” inspired by a photo of Jaralla’s grandparents and their children, their heads barely appearing over the bottom of the image. “Her kids’ faces are cropped (out of the photo) and I asked my grandmother why that was,” Jaralla says. “She said: ‘It’s because I got new curtains. I wanted them (in the picture).’ That says a lot about her personality. She has a strong personality. She overpowers everyone around her.” 

The exhibition’s color palette is reminiscent of the greens and pinks of the Seventies. Some of them are patterned, a nod to traditional Yemeni embroidery. The faces are portrayed with unclear features, almost fading like a lost memory. “I didn’t focus on the features, so people can relate to it,” explains the artist. “It’s not only about the people in the picture, it’s a shared history.”  

In a series she calls ‘City Studies,’ Jaralla depicts the old houses, vernacular architecture, and streets of Abu Dhabi. “I treat houses like portraits,” she says. “I’ll stand in front of a house and I imagine that architectural elements are like clothes. When a person builds his house, he thinks about how he (wants to) represent himself.”  

Jaralla, now in her twenties, started painting when she was in engineering school. She was tutored by the Emirati conceptual artist Afra Al-Dhaheri, and is, she says, inspired by contemporary Arab art, particularly established UAE artists such as Mohammed Kazem and Farah Al-Qasimi. 

This show was Jaralla’s first time participating at Abu Dhabi Art, which had a notable focus this year on female artists.  

“I wanted to show how strong women are,” Jaralla says. “I would say women in the past had different challenges than we are dealing with right now. But I see a lot of strong women every day.”  

Must-see movies from the Arab world at the 2022 Red Sea International Film Festival  

Must-see movies from the Arab world at the 2022 Red Sea International Film Festival  
A still from 'Nezouh.' (Supplied)
Updated 01 December 2022

Must-see movies from the Arab world at the 2022 Red Sea International Film Festival  

Must-see movies from the Arab world at the 2022 Red Sea International Film Festival  

DUBAI: Here are just a few of the features from Arab filmmakers showing at this week’s Red Sea International Film Festival, which runs from Dec. 1-10 in Jeddah. 

‘A Gaza Weekend’ 

Director: Basil Khalil 

Cast: Stephen Mangan, Loai Noufi, Mouna Hawa, Adam Bakri 

British-Palestinian filmmaker Basil Khalil’s debut feature has been eagerly awaited by cinema lovers following the success of his smart, satirical short “Ave Maria,” which was nominated for an Oscar in 2016. Judging by early reviews, Khalil has delivered. The film is set during a viral pandemic unleashed on Israel after a security lapse at an infectious-disease lab, but was reportedly in development before COVID-19 brought unwelcome topicality to the subject. Michael, an English journalist, is trapped in the country, but is offered an escape route into Gaza — ironically now the safest place in the area, as no one can officially get in or out — by two Palestinians, Waleed and Emad, who are aspiring, though untalented, people smugglers. But Michael refuses to leave without his girlfriend, the uptight Keren. That complicates things, since Keren is an Israeli whose presence could get them all killed. While the couple hide in Waleed’s basement, Keren’s incessant complaining drives Waleed’s wife Nuhad — clearly smarter than her bumbling husband — to assist their escape, against her better judgment, all while evading the scrutiny of Hamas.  

‘Raven Song’ 

Director: Mohammed Al-Salman 

Cast: Asem Alawad, Ibrahim Khairallah, Abdullah Aljafal 

Al-Salman’s debut feature has been selected as Saudi Arabia’s entry to next year’s Oscars. It’s a comedy-drama about 30-year-old Nasser — a young man who feels his life is drifting and who struggles to connect with his father. But when Nasser is diagnosed with a brain tumor, and scheduled to undergo a potentially fatal operation, he finds new purpose — particularly when he becomes enthralled by a beautiful but mysterious woman. Determined to win her heart, he turns to his friends for advice. That advice is generally terrible, but Nasser accepts a challenge to woo her by singing her a love poem. 


Director: Soudade Kaadan 

Cast: Kinda Alloush, Hala Zein, Samer Al-Masri, Nizar Alani 

The acclaimed Syrian filmmaker’s latest feature picked up the Audience Award at the Venice Film Festival for its moving portrayal of a 14-year-old girl and her family torn between leaving their home in Damascus and becoming refugees, or staying where they ‘belong’ (as Zeina’s father Motaz argues). Zeina’s mother is concerned not only about the family’s physical safety, but also the prospect of Zeina being married off to a soldier. The family’s worries only increase when a missile rips a hole in their roof, but when a rope is mysteriously lowered into the hole, Zeina is introduced to a world of new possibilities. “Most of the refugee films about Syria were either trying to present us as victims or heroes, in a black-and-white narrative,” Kaadan said in promotional material for the movie. “But of course, we are neither one nor the other, like any human being. In all my films, I want the audience to feel that Syrian refugees are their equals. (This) could be any family around the world who is facing a dilemma of whether to stay or leave everything behind.” 


Director: Lofty Nathan 

Cast: Adam Bessa, Salima Maatoug, Najib Allagui, Ikbal Harbi 

Billed as “an impassioned plea for social justice,” Nathan’s debut feature wowed critics at Cannes, with Adam Bessa picking up a Best Performance award in the festival’s Un Certain Regard section. Bessa plays Ali, a street vendor in Sidi Bouzid, the Tunisian city where another street vendor, Mohammed Bouazizi, set himself on fire in 2010 and started the Jasmine Revolution. Ali continually risks his life heading into the desert to buy the gasoline he sells on the black market, only for the police to extort most of his profits. Already in debt since the death of his father, and with his two younger sisters to provide for, Ali turns to his emotionally distant brother for help. 

‘Dounia and the Princess of Aleppo’ 

Directors: Marya Zarif, André Kadi 

Voice cast: Rachaf Ataya, Elsa Mardorissian, Manuel Tadros, Raïa Haidar 

Zarif and Kadi’s feature is clearly designed to appeal to kids with its simple-but-striking animation, but will, as Screen Daily noted in its review, likely “prove to be a disarmingly potent proposition for adult animation fans also.” Six-year-old Dounia is forced to leave her home in Aleppo when her father is arrested in the middle of the night. Her mother died when Dounia was a baby, so the girl is accompanied by her grandparents. Through them, she connects to her homeland’s culture, particularly music and cooking, and through the five nigella seeds her grandma gives her as her journey as a refugee begins, her imagination runs free, connecting her with a character from stories her father used to tell her. 

‘The Blue Caftan’ 

Director: Maryam Touzani 

Starring: Saleh Bakri, Lubna Azabal, Ayoub Messioui 

The Moroccan filmmaker’s latest feature focuses on husband and wife Halim (Saleh Bakri) and Mina (Lubna Azabal), a middle-aged couple who run a traditional caftan store in one of Morocco’s oldest medinas. Struggling to maintain their livelihood, they hire a talented young man named Youssef to help out. His arrival has a profound effect on the couple’s relationship, with Halim, in particular, forced to confront, and accept, his true self. The British Film Institute hailed the movie as “an emotionally complex, richly empathetic depiction of a partnership sustained through storms and challenges.” 


Director: Youssef Chebbi 

Cast: Fatma Oussaifi, Mohamed Grayaa, Rami Harrabi 

Chebbi’s first solo feature starts out as a police procedural, but develops into something much weirder with supernatural elements. Set in Tunis’ Gardens of Carthage — a development project put on hold during the 2011 revolution and still unfinished — it focuses on detectives Fatma and Batal as they investigate the discovery of the burned corpse of a caretaker, under pressure from their bosses to label the case a suicide. When a similarly burned body — this time of a young maid — is found, witnesses tell them that a man with a “burning hand” is responsible.