Despite the numerous cinematic productions and various works that have emerged since the beginning of 2024, including high-budget films like “Al-Sarb,” “Awlad Rizk 3,” “Shako,” and “Ahl Al-Kahf,” which have attracted millions of devoted fans of Egyptian cinema both domestically and internationally, the overall state of our film industry remains significantly diminished compared to previous decades. In earlier years, Egypt consistently produced over a hundred films annually, with audiences regularly enjoying new releases each month. This industry contributed substantially to the nation’s revenue and held a prominent position among other sectors. Therefore, we are initiating a discussion with experts in the field to explore the various reasons behind this decline, aiming to present a comprehensive overview to decision-makers in order to restore the industry to its former glory and vibrancy enjoyed in prior decades. The insights shared by these experts will be highlighted in the following sections.
A Deeply Concerning Matter
Director Omar Abdel Aziz expressed his concerns by stating: “I have long been troubled by the year-on-year decline of film production in Egypt, which is entirely unbefitting of Egypt’s cinematic stature. Egyptian cinema has been characterized by its prolific output since its inception nearly a century ago and continued robustly into the mid-1990s, even during times of war. Production remained abundant during the era dominated by the term ‘contract cinema,’ which gained popularity in the 1980s. I do not agree with the prevalent notion that television drama is the primary cause of this decline, as it has supposedly overshadowed cinema. This is a significant misconception that cannot be accepted as truth. Cinema, like many other art forms, has been greatly affected by social media, which has diminished the overall output of the arts. Social media has become an easily accessible platform for many, leading numerous individuals to prefer it over attending cinemas to watch films and engage with various theater offerings. Furthermore, stars from cinematic works, who were once highly anticipated, are now frequently available through at least one seasonal series each year, in addition to the television programs they actively participate in.”
Reconsideration
According to writer Magdy Saber, Egyptian cinema ranks as the second oldest film industry in the world after France. Notably, when the Lumière brothers held their first screening in Paris in 1895, their second screening took place in Alexandria just a few months later. Egyptian cinema has undergone numerous phases, evolving from silent films to sound films. A significant turning point occurred under the leadership of Talaat Pasha Harb, who established Studio Misr and enhanced the skills of Egyptian artists by providing educational opportunities in Europe across various fields of the industry, including acting, cinematography, set design, and directing. Consequently, since the early 1930s, Egyptian cinema began to penetrate the entire Arab world. It can thus be asserted that Egyptian cinema and media are vital components of Egyptian culture, playing a crucial role in the dissemination of the Egyptian dialect throughout the Arab world. Over the years, Egyptian cinema has evolved decade by decade, producing its own narratives and moving away from reliance on foreign stories. The peak of production was reached in the 1980s, during which we produced 120 films annually and boasted a significant number of theaters, showcasing a distinguished group of legendary artists, including Faten Hamama, Kamal El Shennawy, and Emad Hamdy.
At the beginning of the new millennium, a significant transformation occurred in the Egyptian cinematic landscape. Various elements emerged that disrupted this realm. Among the most notable factors was the rise of film piracy and the subsequent distribution of these works on social media platforms, which led to the bankruptcy of production companies and their exit from the market. Consequently, film production experienced a decline, reaching a low of just six films per year. However, in 2010, the industry rebounded, producing approximately thirty films annually. Many critics and those invested in the arts viewed this as a substantial advancement.
There are numerous complexities that we discussed extensively at that time in an effort to rescue this significant industry and address its challenges. Foremost among these is the difficulty in obtaining filming permits in various locations. Additionally, the high costs associated with filming in many areas place a considerable strain on production budgets, ultimately impacting the quality of the final product. Furthermore, we must not overlook the crisis surrounding the external distribution of Egyptian films over the past two decades, which has been a significant factor undermining the Egyptian cinema industry.
To regain strength in the film industry, it is essential to adhere to certain principles, the foremost being a focus on cinematic storytelling. This involves seeking out screenwriters who have distanced themselves from the scene, some due to passing, like Wahid Hamed, and others who have stepped back while still alive, such as Bashir Al-Dik and Mohamed Galal Abdel Qawy. This shift is largely attributed to the emergence of a new generation of producers who do not prioritize screenwriters or directors; instead, they seek a production manager to execute their desires. A notable example is the esteemed director Dawood Abdel Sayed, who has only released three films in the past 25 years, despite his significant stature in the industry. Similarly, directors like Yousri Nasrallah and Khairy Beshara have ceased to work, while the late Mohamed Khan faced considerable challenges. This situation stems from a lack of a coherent production strategy. We recall the Cinema Foundation established in the 1960s, which produced 120 films in 13 years, including some of the most significant works in Egyptian cinema. In contrast, contemporary producers often present a mix of popular singers and dancers, branding their projects as holiday or seasonal films. Consequently, when we seek a film worthy of representing Egypt at the Oscars, we frequently find no suitable candidates. In summary, there is a notable absence of artistic producers like Ramses Naguib, Asia, and Mohamed Fawzy, who understood the principles of star-making.
Furthermore, the government must reassess the cinema sector, which once boasted numerous studios, editing facilities, and a vibrant film city where directors competed to be the first to enter. Currently, much of this has ceased, leaving only foreign competitors who prioritize interests detrimental to the industry, such as producing low-quality films for streaming platforms and focusing their efforts on television drama. These entities have already undermined the music market. It is imperative that we urgently reconsider our approach and begin seeking quality scripts from esteemed and professional writers to produce compelling works that will attract audiences. Additionally, we need to reevaluate the costs associated with filming in domestic locations, as this could revitalize production. For instance, Morocco generated $6 billion for its national budget last year from foreign film productions on its soil.
A new plan
Critic Dina Sharaf El-Din remarked that there has been a noticeable decline in film production in Egypt over the past two years compared to previous years. This is particularly striking given the audience’s eagerness for cinematic experiences following the COVID-19 pandemic and the subsequent phases of lockdown, which eventually led to a gradual reopening and a renewed sense of confidence among the public. This situation called for an increase in cinematic works and a greater willingness from production entities to engage in the industry, especially considering that several projects have generated hundreds of millions in revenue over the last two years.
However, the focus has primarily been on delivering high-quality artistic works that reflect the significant efforts of all those involved in the production process. It is our hope that the current state of cinema will be restructured to enhance production levels and align with the substantial audience demand we have as the largest Arab nation, as well as our inherent appreciation for the arts. On a more positive note, the television drama sector has seen a surge in production, with an increase in the number of works being created. This trend is not limited to the Ramadan season, as new series are now being released throughout the year, and we continuously witness fresh productions on various platforms. Had it not been for the violent events surrounding us, which have led to the withdrawal of significant investments, our situation could have been markedly better.
