From her earliest appearances on screen, Wafaa Amer understood that acting isn’t merely a craft—it’s a message, a responsibility, and a bridge connecting her to an audience that has believed in her for years. This Ramadan, she wasn’t just another name in the credits—she was a force across various productions, from lead roles to captivating cameos, traversing genres from social drama to historical epics.
In this candid interview, Amer opens up about the challenges behind the scenes, the joy of audience reactions, and what’s next in her career. Here’s what she had to say:
■ How do you view the audience’s response to your work this Ramadan?
I’m genuinely happy with the audience’s feedback this year. I received so many warm messages and heartfelt comments—on social media and in person. I truly felt that each character I played left a mark. That matters more to me than the number of scenes or how long I was on screen. A real actor is measured by their impact, not just their presence.
■ You were involved in several productions this season. How was that experience?
I naturally enjoy challenges. For me, taking part in multiple projects during the same season isn’t stressful—it’s invigorating, especially when the roles are distinct. The broadcast schedule is up to the production companies, but I choose my roles carefully to ensure diversity. I never want the audience to feel like I’m repeating myself.
■ Was it difficult to switch between different characters and roles?
Not at all. Acting, to me, is about focus and full immersion. I leave one character behind completely before stepping into the next. Even if I’ve played Upper Egyptian or popular characters before, I always aim to present something new. Everything changes—the mindset, the look, the energy. That transformation is part of what makes this profession so rewarding.
■ Tell us about your role in “Gawdar – Alf Leyla w Leyla”
Gawdar is unlike anything else—it’s inspired by “One Thousand and One Nights,” but with a bold, modern twist. The production was top-notch, with a beautifully written script by Anwar Abdel Maguid and masterful direction from Islam Khairy. I’m proud of every scene because the work reflects true collaboration and artistic integrity.
■ Could you elaborate on your role in the Bahraini series Aaber Sabeel?
This project means a lot to me. It was a pan-Arab production, bringing together talents from the Gulf and across the Arab world—which is something our regional drama truly needs. I worked with amazing stars like Abdul Mohsen Al-Nimr, Abdullah Shaheeri, Leila Abdullah, and Mona Hussein. Every moment on set was enjoyable, and I walked away with great memories and even greater pride.
■ “Banat Hammam” raises a bold hypothesis about “Raya and Skeenah.” How did you approach that?
The series presents an intellectual adventure, asking a powerful question: Were Raya and Skeenah inherently criminal, or were they shaped by their circumstances? We try to explore this through art. The script was smart and layered, and the performances were heartfelt. What I truly appreciated was how the audience engaged with the question—even if they didn’t agree with it. That kind of reaction is a success in itself.
■ You appeared as a guest star in “Ish Ish.” How would you describe that experience?
I was genuinely happy to take part. Although the role was brief, it was light, unique, and full of charm. The entire production carried a joyful comedic spirit, and I wanted to be part of that energy. In the end, a guest appearance isn’t about screen time—it’s about the impression you leave.
■ How do you view the contrast between working in comedy, drama, and historical genres in the same season?
I thrive on switching between genres. I believe a true artist should be versatile. I love comedy just as much as I love tragedy. Success in one genre motivates me to try another—it allows me to keep evolving and rediscovering myself.
■ Do you feel a responsibility to support the younger generation of artists?
Absolutely. We must always support emerging talent—those who are still dreaming. When I collaborate with young artists, I feel like I’m paying it forward, just as others once supported me. It’s a duty we carry as actors and as part of the artistic community.
■ What guides your choice of roles?
I choose with my heart—but also with care. I thoroughly read the script, consider the team behind it, and think about the working environment. I need a space that feels humane and supportive so I can create freely. The director, in particular, is a crucial partner for me—they help bring out the best version of any performance.
■ How do you handle criticism?
Thankfully, I haven’t faced much harsh criticism, maybe because I stay close to people and avoid doing things that upset them. Still, when I do receive criticism, I listen to it. I always try to understand the intention behind it. Growth is essential—any actor who doesn’t evolve eventually fades.
■ There were rumors of a conflict between you and director Mohamed Sami. What’s the truth?
There’s absolutely no conflict. On the contrary, Mohamed Sami is a talented director and a respectful person. I care for him and his family deeply. Everything that was said about a dispute is baseless rumor.
■ Why did you decline the guest role in Fahd El-Batal?
It wasn’t a rejection in the traditional sense. I was actually very excited about the opportunity—I truly admire Ahmed Al-Awadi, both as an artist and a person. We’ve worked together before and have great chemistry. Unfortunately, scheduling conflicts got in the way, but I wished them all the best with love and sincerity.
■ What would you like to say to your audience after this Ramadan season?
To my wonderful audience: You are the secret behind every success I’ve had. Your love is my greatest joy. Because of you, I continue, and I grow. Thank you for every kind word, every message, every ounce of support. I promise to always work hard and strive to exceed your expectations.
■ What are the criteria you now use when selecting roles?
At this stage, I look for roles that challenge me and offer real value to the audience. I don’t accept scripts just for the sake of being in something. I need to feel connected to the character and to believe in the message. I’m always searching for parts that push my boundaries and allow people to see me in a new light.
■ Do you prefer popular characters or aristocratic ones?
Honestly, I love both. Every character has its own flavor. Popular roles are rich in authenticity and strength, while aristocratic ones demand poise and subtlety. What matters most to me is that the character is well-written and has depth.
■ How do you see the current landscape of Egyptian drama?
We have immense talent and strong productions, but we still need more structure—particularly when it comes to script development. With solid scripts and respectable production values, we can absolutely compete on an international level. And the evidence is clear—our series are already reaching viewers across the globe.
■ Is there a director you’d love to work with again?
There are many directors I admire, but someone like Mohamed Fadel, who had a profound impact on my early career, is definitely at the top of my list. I’d also love to continue working with younger directors—they bring fresh energy and new perspectives that inspire me.
■ What’s your take on categorizing actresses into certain roles?
I’m completely against it. A real artist should be able to do anything. You can’t confine someone to one type of role. I’ve played everything—from the popular woman, to historical characters, to mothers, to aristocratic figures—and every time, I try to bring something new. Categorization limits creativity, and I believe we’re meant to keep breaking those limits.
