(MENAFN- Daily News Egypt) In 2024, Egyptian cinema saw a notable surge in both creativity and experimentation, offering a diverse range of films across genres such as comedy, drama, thriller, and action. However, the quality of these works varied widely, sparking lively debates among critics and audiences alike.
One of the films that garnered significant attention was“Why Live It Solo?!” (Lih Ta'eesha Luwahadak), starring Sherif Mounir and Khaled El Sawy. The film explored the complexities of human relationships with emotional depth, but its midsection felt slow, leading to a dip in audience engagement.
“My Cousin and I” (Ana We Ibn Khalty), featuring Bayoumi Fouad and Sayed Ragab, was a light comedy that, while entertaining in the moment, lacked depth, failing to leave a lasting impression. In contrast,“Azima's Gang” ('Usbah 'Azima) offered a family-friendly atmosphere with strong performances by Esaad Younes and Farah El-Zahed, though some scenes felt repetitive and unnecessary.
The drama“The Alexandrian” (Al-Iskandarani), led by Ahmed El Awady and Zeina, demonstrated greater maturity and showcased impressive acting. However, its subplots occasionally dragged, detracting from the overall impact. Similarly,“El Hareefa: Part1” attracted attention for its youthful cast, including Nour Ehab and Nour Nabawy, and its exploration of issues relevant to younger audiences. However, its open-ended conclusion seemed like a deliberate setup for a sequel, which some viewers found excessive.
In the dramatic realm,“Maqsoom”, starring Leila Aloui and Sherine Reda, offered some notable emotional depth but fell into familiar social-film clichés. Meanwhile,“Al-Malika”, directed by Hala Sedki, allowed her acting skills to shine, though the film lacked surprise, making it predictable at times.
Thrillers and suspense films also marked a high point for Egyptian cinema in 2024.“Flight 404” (Rihlat 404), featuring Mona Zaki, was a standout in the genre, keeping viewers on the edge of their seats. However, some scenes could have been trimmed for pacing. On the darker side,“Adel Mesh Adel” relied on dark comedy but struggled with an uneven rhythm that occasionally interrupted its flow.
Social commentary remained a strong theme this year, with“Eid Night” (Laylat al-'Eid) tackling complex societal issues through a compelling performance by Yousra. However, its rushed conclusion left certain plotlines underdeveloped.“A Nose and Three Eyes” (Anf wa Thalath 'Uyun), starring Dhafer L'Abidine, was a stylish romantic drama that unfortunately lacked the emotional depth necessary to make its central conflicts resonate.
In the realm of experimental cinema,“The Mexican Experience” (El Tagroba el Mexicia), presented by Amr Abdel Gelil, mixed comedy with suspense in an interesting way, although some comedic moments felt forced. In contrast,“The System” explored technology and its impact on society, featuring solid performances by Tarek Lotfy and Ahmed El Fishawy, though it could have benefited from a more dynamic script.
In the action genre,“His Bro” (Shako), starring Amr Youssef and Mohamed Mamdouh, was a fast-paced thriller that balanced excitement with emotional depth. However, it leaned too heavily on action sequences, leaving little room for character development. Meanwhile,“A Break of Delightful Moments” (Faṣl min al-Laḥẓāt al-Laḏīḏah) offered a lighthearted mix of comedy and romance, buoyed by the charming chemistry between Hisham Magdy and Hana El Zahed.
Patriotic drama“Al-Sarb” allowed Ahmed El Sakka to deliver one of his most powerful performances of the year, blending national pride with poignant drama, although certain moments veered into over-exaggeration. On the other hand,“Tani Tani”, directed by Ghada Abdel Razek, engaged with social themes but left audiences pondering an open ending that some felt was too vague.
Among film series,“Wulad Rizq 3: Al-Qāḍiyah” proved to be a solid continuation of the franchise, featuring strong performances by Ahmed Ezz and Amr Youssef. However, certain action scenes were drawn out unnecessarily. Meanwhile,“Playing with the Kids” (Al-La'b ma' al-'Iyal), starring Mohamed Imam, was a lighthearted comedy that failed to make the same impact as other films in the genre. Khaled El Nabawy's“People of the Cave” (Ahl al-Kahf) presented a fascinating historical narrative, though its slow pacing hampered its overall effect.
Romantic comedies were also popular, with“Toxic Marriage” (Gawaza Toxic) and“ My Wifes X” ('X Merati) leading the charge. Laila Elwi and Bayoumi Fouad brought charm to“Toxic Marriage,” while Hesham Magdy and Amina Khalil contributed to the fun in“Ex-Wife”. However, both films lacked significant innovation and relied on familiar tropes.
As 2024 drew to a close, films like“Al-Hareefa 2: The Remontada” sought to capitalize on the success of their predecessors, though the intertwining storylines felt overly complex.“A Few Hours on a Certain Day” (Bid'a sa'āt fi yawm mā) offered a heartfelt romantic approach but suffered from a lack of narrative coherence. Finally,“Last Moment” (Akher Lahza), starring Basma, delivered a strong performance, but its conventional ending left little room for surprise.
In sum, 2024 marked a year of significant experimentation and growth for Egyptian cinema. While not every film was a hit, the diversity in themes and genres signaled a promising future for the industry. Though storytelling and pacing issues persisted in several works, the year represented a vital step in revitalizing Egyptian cinema's global stature.
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