For more than two years, the movie (Soad) for Ayten Amin is not allowed to be shown in Egypt, for reasons that have nothing to do with censorship, legal problems, between the co-author of the film, Mahmoud Ezzat, with one of the production authorities, the case is still pending before the courts and the state has not been able to Whoever gave the film a date for public screening, the film was almost banned from representing Egypt last year in the “Oscar” competition – the best foreign film – for the same reason, but it basically did not climb to the short list that requires commercial presentation in the country of production, in all cases the film was made available to him The show was shown in more than one Arab country, including Tunisia. The well-known producer, Dora Boushousha, participated in the production. The film, whose name began to knock on the door at the Cannes Festival, was chosen for the official screening of the session, which did not actually take place 2020, but it kept the festival’s (logo) to become Aiten. The first Egyptian director to officially participate in Cannes, then it was shown by default at the Berlin Festival, and its global presence continues, but the target audience did not see it, and I do not know following this time has passed, will it find space for it?
In the last days of (Malmö), whose awards were announced yesterday evening, the film was shown, and it was a strong candidate for the best award. The votes were narrowly decided in favor of the Algerian film (Sola), the film is an Egyptian-Tunisian-German production and legally represents the three countries, although it is a construction A pure Egyptian flavour.
The depth of (Souad) that gave him all this presence, he is modern in the language of the narration, the tale does not stop him with its direct vocabulary, but beyond, and he simply transfers the spectator to this law following giving him his own code, two sisters, one of whom dreams of living her virtual world with realism (Souad). , who leaves in an accident, and her sister begins to reincarnate her life once more, Ayten presented the event of leaving simply, because it is not the story, Souad stands with her sister on the balcony, they exchange dialogue and she leaves her for a few moments and returns to her, to find her and she has fallen, with no extra chatter and no dialogue outside the artwork. Suicide or stumbled? The script is deliberately not to become a mystery, the veil is also one of the glimpses at which the director stopped, as well as performing prayer, love or what girls imagine for love at that stage of life, as if they are turning over the pages of life. The spectator is considered an active party in the story and not just a recipient of it.
Souad’s sister keeps the mobile phone on which she recorded the details of her life and the story of the first love or the first illusion. While in the microbus, Ayten expressed Soad’s psychological formation with those made-up stories that she tells, regarding her studies and her imaginary fiancé. .
A good use of many songs, by Umm Kulthum and Mohamed Mounir, director of photography Majed Nader provided a good implementation of the image between the fixed and portable camera, and the director excelled in leading her actors, most of whom stand for the first time in front of the camera, maintaining their freshness and spontaneity, which is considered a cherished achievement.
This is Aiten’s second feature film following (Villa 69), which is a small outcome in light of a harsh cinematic market, but Aiten confirmed with her movie (Less in Hope).