Growing between the Noise, Analysis of Eran Riklis’ Lemon Tree

by Thomas Winegarden

Lemon Tree is a drama film directed by Eran Riklis. The film itself is based on similar events involving Israel’s former Minister of Defense Shaul Mofaz. However, the film follows the perspective of an Palestinian widow, Salma Zidane, and her struggle to resist the seizure of her lemon grove by Israeli authorities. Salma is paralleled by the Minister’s wife, Nora Navon, throughout the film. Allowing the audience to witness the relationship between the two women who live yards apart, and exist in dramatically different socio-political spheres. Doing so Riklis creates a political symbolic film regarding the daily lives of Palestinian citizens and others in the middle east in light of the political conflicts, which he accomplishes by employing symbolism with the characters and the lemon grove itself. 

Salma and Mira, play symbolic roles that allow Riklis to use the narrative as a political allegory. Salma, a palestinian widow, is representative of the larger palestine and the grief that palestinians have had to endure. Mira, in contrast, is symbolic of a national Israel identity, and represents empathy in the face of conflict. This is best exemplified in the scene where Salma discovers Israeli soldiers picking lemons, from her seized grove, for the Minister’s party. When first witnessing the theft Salma shouts “What are you doing? Who let you into my grove?” (Riklis, 2008, 01:02:28). Following this Salma proceeds to throw lemons at the Minister and his wife while demanding they leave. Mira simply replies “We just wanted a few lemons, I’m sorry” (Riklis, 2008, 01:03:38). Here the audience witnesses the direct confrontation between the two women, and symbolically the interaction between Palestine and Israel. Which exhibited political underpinnings, as Salma’s pleas could be applied more broadly to those suffering due to the territorial conflict without dehumanizing her opposition. 

The lemon grove itself is also used as a tool of political symbolism to represent the loss of tradition and culture. Although a physical space, the grove holds a greater cultural and emotional significance. In one aspect it represents lineage and family tradition, as Salma inherited it from her father. With the seizure of the grove representing the loss of homeland experienced by Palestinians, who are forced to give up physical space and the attachment to it. In another aspect the lemon grove is broadly symbolic of Palestinian culture and socitey which has been subjected to great upheaval from Israel expansion. As citrus and the citrus industry is a big aspect of Palestinian national identity. This is best visualized in the film in the scenes of Salma entering the gated grove, which occurs on multiple occasions, only to be subjected to the orders of an Israeli soldier standing watch. Symbolizing the emotional turmoil over the loss of homeland and identity. 

The portrayal of Salma’s struggles and the relationship with Mira serves as a testament to the experiences of individuals who are impacted from the loss of home and tradition. By understanding Salma as a symbolic Palestine and Mira as a symbolic Israel, the audience is able to empathize and humanize the conflict on both sides. Riklis is able to achieve this political allegory film relating to the Israel-Palestine conflict only by employing symbolism with the characters and the lemon grove, which expresses impact on the daily lives of Palestinians and other individuals who are subject to conflict. 

Works Cited: 

Lemon Tree. Directed by Eran Riklis, Written by Suha Arraf and Eran Riklis , 2008. 

Hiya Fawda and Corruption

By Logan Wilson

“Hiya Fawda” is an Egyptian cinematic film directed by Youssef Chahine and Khaled Youssef. The film, released in 2007, translates to “Hey, it’s Chaos” in English. The film’s genre is typically referred to as a melodrama or drama, which includes a great deal of satire. Hiya Fawda focuses on many heavy subjects and issues such as chaos, corruption and abuse in Egyptian society. The film focuses on multiple different characters and their interactions with one another, as they experience life in Cairo, Egypt. The film focuses on the challenges that civilians face, demonstrating the corrupt bureaucratic system. The main characters in the film find themselves in difficult situations where they must decide what is morally right or wrong. 

In the film, Youssef Chahine narrows in on controversial topics in Egypt, bringing awareness and sparking conversation about the police terrorism that was occurring at the time. The film is a powerful observation of the state of contemporary Egypt, encouraging the audience to look deeper into the corruption of the government. It displays the chaotic aspects of Egyptian society, which serves as a representation and symbolism of the political state of the country. While the film experienced mixed reviews, many critics applauded Youssef Chahine for showcasing the real and bold themes. 

Chahine opens the film with a powerful scene. Police officers and civilians engage in a violent interaction. While the civilians are protesting, This opening scene is a shocking attention-grabber for the audience, and showcases the brutality of the police. This scene also opens up the audience to Hatem’s control. It also sets the tone for the rest of the film, foreshadowing the chaos and turmoil that will follow. 

Innocent people are captured and imprisoned, and some of them are even killed under Hatem’s control. Throughout the film, Chahine highlights the ways in which Hatem abuses his power, which allows him to get away with such violent behavior. 

In the film, Hatem’s character is revealed as an all-powerful man who has control over almost all aspects of society. His decisions are what inflict most of the corruption on the civilians. The film explores the multifaceted aspects of Hatem’s life, exposing him as a pathetic man. It shows his infatuation with his teacher, and his inappropriate acts towards a woman much younger than him. His character is essential in the development of the film, being that his emotional development emphasizes the corrupt nature of Egyptian politics. 

“Hiya Fawda” highlights the struggles faced by the authentic characters in the film, as they navigate the corruption and manipulation that they face in their home country. Overall, the film explores very complex themes that address the many social and political issues in Egyptian society. Chahine elaborates on these themes in a very interesting way, creating a story that draws in audience members yet also encouraging them to think critically. While the ideas are quite controversial, the realism of the story highlights powerful character development that draws in the audience. “Hiya Fawda” is a compelling and unique film, critiquing contemporary Egypt. 

Unraveling, “West Beirut” a journey of conflict and humanity

By Isabella Yepez

The film West Beirut provides an emotional journey delving into the historical relevance and societal issues of the Lebanese Civil War while illustrating a story that underscores humanity in times of conflict. Director Ziad Doueriri transports the audience into the streets of a city ripped apart by violence on an emotional level. Themes of chaos and fear are painted within elements in the opening scene, showing the aftermath of a horrific bus assault. Soldiers and snipers surround the streets, standing guard against the perpetual fear and tension that pervade daily life.

“West Beirut” primarily addresses the several effects of the Lebanese Civil War on people and communities. Specifically, in the characters Tark, Omar, and May, their identities have to revolve around the constant reminder of the city’s hardship, yet despite the constant challenge, they search for happiness. Themes of love, resiliency, and human connection are at the core of the film, primarily in Tarek and May’s blossoming romance, transcending sectarian barriers and providing a glimpse of a hopeful future for peace. The power of love is a notable theme in the film as Tarek overcomes the established societal divisions and the biases of his friend Omar as he pursues May despite her Christian beliefs. The film’s intricate features are visually appealing, with symbolism that strengthens the narrative. In Tarek and May’s secret encounters, the film’s imagery encourages the audience to fully immerse themselves in their world.

            Moments like Omar consoling Tarek and assuring him that safety is universal, despite religion, highlight the film’s powerful theme of unity amidst division.

The scene where Tarek, Omar, and May are walking around their war-torn city, searching for moments of normalcy, is an exemplary moment of their daily environment. The sounds of gunfire and explosions in the distance as they wander through the streets littered with debris fill the streets at every turn. The trio finds comfort in each other’s presence despite the destruction, and their moments of laughter together contrast the devastating reality of destruction that surrounds them.

The complex relationship between characters who are each in search of their own identity and personal challenges. This is prominent within Tarek’s friendship, and his constant optimism gives hope, and his interactions with Omar bring to light the underlying tension that boils underneath sectarian boundaries. The divide of Beirut into East and West signifies the intricacies of identification and mining relationships, while conflict is prevalent, reflecting a metaphor for a divided society. 

The lasting impression the film West Beirut induces in the viewer is an inspiring contemplation on the spirit of humanity’s resiliency and brings awareness to conflict. The timeless message of optimism and unity in the face of war is reinstated with a fresh perspective from the director through the depiction of universal themes of love and friendship.

“West Beirut” pushes past the boundaries of ideology, race, and religion, serving as a reminder that, in the end, what ties society together is common humanity. Using empathy, comprehension, and group efforts, viewers are left with a reflection of how conflict can pave the way for peace and reconciliation.

Ali Zaoua: Considering the Effects of Poverty

By Tiffany Zalweski

Despite Morocco’s efforts, poverty is still a prevalent issue, although declining. One film that captures this is Ali Zaoua. The film Ali Zaoua displays the streets of Morocco through the eyes of three young boys: Kwita, Omar, and Boubker. The boys recently defected from their gang full of other young boys, with their friend Ali Zaoua joining them. However, tragically, members of the gang accidentally kill Ali after throwing a rock at his head. Thus begins the three boys’ journey to give their friend a proper burial.

Throughout the film, there are many details of life in Morocco for many children. The boys do not attend school and are homeless, but they are also too young to gain formal, steady employment. The boys take on odd jobs, such as selling cigarettes and small trinkets and crafts on the streets to passing cars. Kwita also steals a wallet from a girl in one scene. Without an apprenticeship to learn a trade or a formal education, it will become increasingly difficult for the boys to get off the streets one day. It is unknown if the boys ever went to school at all, meaning that it is possible that they are entirely illiterate, further decreasing their chances. These factors are what maintain criminal activity on the streets, as legal pay is not as attainable for those impoverished.

At one point, the boys go to visit Ali’s mom to tell her he is dead. Only Omar makes it inside her home and speaks to her. In this scene, the boys’ condition becomes more apparent, as the mother begins to comment on Omar’s appearance and poor hygiene. As the boys would not have access to proper hygiene products, it is likely that they suffer the effects of this beyond smell. Poor hygiene can also lead to sickness, dental issues, and infection. Not only can this be painful and debilitating, but infections can be lethal or lead to amputations if left untreated. As the boys do not have any means of making or keeping money, they have no access to healthcare, possibly reducing their lifespan. They also do not have access to food that is entirely safe to eat or free from any harmful bacteria, and in one scene the boys even eat sardines from a box on the floor. This could also lead to severe illness, as it is not clear whether the fish were raw or cooked or where exactly they came from.

Kwita and Omar get into an argument after an encounter with Dib, the leader of the gang, and this argument quickly turns physical. In this interaction, the boys demonstrate how violent the children become when exposed to crime and lacking a nurturing environment. Omar holds a broken glass to Kwita’s neck while Boubker pleads for them to stop fighting. The audience often sees the innocence of the boys through Boubker and his displays of childish humor, but in this scene, it is viewed through Boubker’s fear. Omar describes Kwita as a coward and graphically describes the rape and assault he endured because of it. In this, the film reveals that no crime is unknown to the streets, even when they are filled with children. It is a stark reality that mostly goes unaddressed due to the topic being considered taboo.

Ali Zaoua shares a story that is insightful and critical to the understanding of poverty in Morocco. The director identifies several social issues within Moroccan society, such as prostitution, rape, and the poverty crisis. All of these issues are interconnected, as crime rate typically rises with the poverty percentage. Ali Zaoua is a call to action that raises awareness and begs for change for the betterment of Morroco.

On Lion of the Desert’s trial

by Joshua Zuckerman

Lion of the Desert, a film by Moustapha Akkad, is an extremely well-portrayed film that highlights the struggle of Omar Al-Mukhtar against the Italian subjugation of Libya during the 1920s. However, while being a film based almost entirely on real events, the film takes some liberties for the sake of dramatizing the story. One specific event of note is the trial of Omar Mukhtar, in which an Italian lawyer is depicted defending Mukhtar and justifying his actions as those of someone not under Italian rule. However, this event never transpired in reality during Omar Mukhtar’s trial. Due to this, the film’s historical accuracy loses some level of credibility, leaving the audience to ponder the true nature of the trial.

The scene begins with Omar Mukhtar admitting to attacks against Italian soldiers and being armed at the time of his capture. However, Captain Lontano, an Italian Army officer serving in Libya during the Second Italo-Senussi War, defends him by asserting that, due to his refusal to submit to Italian rule and his lack of receipt of any money or rewards for good behavior during the Italian subjugation of Libya, he must be treated as a prisoner of war. Realizing that this event didn’t occur, viewers may wonder why it was included. The answer is simple: by portraying Omar Mukhtar as openly described as a prisoner of war during the trial, it emphasizes the unjust nature of his trial and underscores the fact that Omar Mukhtar never received assistance from Italy, nor did he ever submit to their rule.

The scene then continues with the judge stating that Captain Lontano “overstepped [his] orders,” as he was only instructed to defend Omar Mukhtar from the charge of treason rather than attempt to discredit the fairness of the charge. This continuation of the fictional scene emphasizes that Omar Mukhtar was openly known to have never submitted to Italian rule, opposing their colonization of Libya for 20 years. This raises the question: Why did the Italians hang Mukhtar rather than treat him as a prisoner of war? The movie implies that by executing Mukhtar, they hoped to quell the resistance as a whole. Omar Mukhtar represented the face of the Libyan resistance to Italian colonization, and Italy sought to make an example of him by hanging him in public, as depicted in both the film and historical records. This, followed by the public outcry shown in the film after his execution, illustrates the impact of his death on the resistance, severely weakening it despite galvanizing efforts to repel Italian colonization.

In conclusion, Omar Mukhtar’s “trial” was never truly a trial. Italy’s goal was always to execute Mukhtar in hopes of crushing the resistance. Although it achieved some success, it also paved the way for generational resistance to colonization and a continued desire for Libyan independence. By fictionalizing this scene, Akkad drew attention to the unfair treatment and execution of Mukhtar, portraying him as a hero who died for his beliefs rather than a (forced) Italian citizen who committed treason.

Lemon tree: the Intersection of Nature and Politics

By: Sam Sastro

Lemon Tree (2008) is a film directed by Eran Riklis. Riklis is an Israeli director, and the film combines both nature and politics to provide a unique perspective on the Palestinian-Israeli conflict. Salma is the main protagonist of the film and is a Palestinian, while her next-door neighbor is the Israeli minister of defense who lives with his wife Mira. Relationships between the two women are developed subtly through the conflict and represents how nature can act as a barrier in relation to both aiding and causing conflicts in political discourse. 

The threat of nature can be representative of a fear of the unknown and how uncontrollable aspects cause fear and anxiety to the Israelis even through they are only a few yards away. The conflict is represented in the film and juxtaposes man-made structures such as guard towers, walls, and armed guards with nature and a single woman who is trying to preserve her land. The contrast of these two aspects can be related to culture and modernity.  The support system that Mira had such as her lawyer Ziad, children and other onlookers of the conflict felt connection to the Lemon Trees and the patch. However, when being broadcasted by the Israelis, the urge and the importance created heightened levels of anxiety that dangers lie in the vast lemon trees and pose an imminent threat to Israeli security. 

Politics in the film are highlighted by Salma’s lengthy efforts to try and defend her homeland. Her first offer to settle and compromise was for her to get rid of her trees. However, standing her ground both figuratively and literally escalates the situation and represents into a politically charged conflict on a smaller scale: Mira’s homeland of Palestine to her is her family’s home. Riklis emphasized these trees as not only being part of Mira’s homeland however also being passed down by her late father and how these lemon trees represent her family lineage. Nature and the symbolism through roots and stems are representative of not only Salma’s struggles throughout the film however representative of the shared collective trauma of Palestinians through their history with occupation. 

Although the film is an intimate take on the Israel-Palestine conflict, the plot and politics can be simplified to an underdog story which have the audience anticipating the ending if Mira will win her “battle” and successfully defend her homeland, her family, and her identity. Potential relationships arise as the wife of the minister, Mira travels through the trees to meet her neighbor to talk. However, they never speak, the effort and the harmless journey to her neighbor’s house show the harmlessness and the beauty in the lemon trees that Riklis captures throughout the film. 

The last shot of the movie is the barren field that once housed hundreds of lemon trees separated by a steel wall and now uprooted trees, representative of Salma’s loss in the trial. The implication of nature being the threat is proven wrong with this shot. The desolate nothingness shown implies no “threats” that the Minister Navon implied. The film juxtaposes the Israel and the Palestine border by showing the backyard of the minister followed by his garden and Salma’s backyard. Although hopeful in the context that the trees could grow again as the roots and stems are still intact, the film Lemon Tree shows how nature can be used as a threat in the political sphere.

Works Cited

Riklis, E. (Director). (2008, March 27). Lemon Tree [Film]. IFC Films.

West Beirut (1998): Identity and resilience

By Nicholas Schwab

The Lebanese Civil War, which raged from 1975 to 1990, is still regarded as one of the more crucial periods in the country’s turbulent history and has left a lasting impact on the collective consciousness of Lebanon. Ziad Doueiri’s “West Beirut” (1998) is one of the many artistic interpretations of this time that attempts to captures the essence of life amid the chaos of the war. With its setting in Beirut in the early years of the conflict, the movie weaves together themes of identity, resilience, and the devastating effects of conflict on people and communities to present a gripping examination of the human condition. Ultimately, the film shows the 1975 Lebanese Civil war, successfully highlighting the identity crises caused by the war as well as the resilience of the human spirit using a narrative focused on its young protagonists, Tarek, Omar, and May.

“West Beirut” illustrates the impact of the war on individual identity, as in many ways, the film is a coming-of-age story about the teenage main characters. Tarek and Omar’s friendship in fact serves as a microcosm of Lebanon’s fractured society during this period, especially underlining the arbitrary nature of the conflict and its human cost. Throughout the film, the two are put into dangerous situations, such as crossing areas with snipers aimed at them, and even being shot at in the street. In addition, they argue often, whether it is about Tarek almost getting Omar into trouble, or even more complex topics such as the addition of May, a Christian, into their friend group. Despite all of this, the friends ultimately realize that their shared humanity transcends the boundaries imposed by war and external pressures of sectarian traditionalism. 

Schwab 2

This is evident toward the end of the film in the scene where Tarek truly opens up to Omar on the rooftop and the two cry and hug.

As previously stated, “West Beirut” is also a testament to the resilience of the human spirit. Despite the horrors of war, the characters demonstrate courage, finding moments of joy and laughter amidst the chaos. Tarek, Omar, and May refuse to be defined by the violence surrounding them, choosing instead to and defy the limitations imposed by their circumstances. In example, they make valiant attempts to cling to innocence, such as when Tarek empties the bucket onto his neighbor who wakes everyone up with a tirade of negativity from her balcony each morning. Their unwavering determination to preserve their sense of self and also protect their loved ones (shown by Tarek worrying about his parents dying when he is crying on the roof) portrays indomitable human spirit.

Overall, “West Beirut” is a poignant and powerful portrayal of the Lebanese Civil War, using the experiences of its young protagonists, to highlight the profound impact of war on individual identity while celebrating the resilience and strength of the human spirit. As Lebanon continues to reckon with the legacy of its turbulent past, “West Beirut” remains a powerful beacon of hope and confidence in the strength of humankind to survive and prosper.

My home in Libya

By Charles Sonalia

In the touching film My Home in Libya,  directed by Martina Melilli, the narrative begins with a compelling exploration of self-identity, memory, and the constant looking for a sense of belonging in order to “rekindle” her family. Through direct scenes and evidence from the film, viewers are sent through the journey of Martina Melilli as she deals with her family’s history and the unfavorable displacement.

One key scene that shows Martina’s desire for connection is when she sits down to sketch a map of the city, cautiously tracing the places that hold memories of her grandparents. This  representation becomes a symbolic act of storytelling, as Martina attempts to navigate the ruins of her family’s past and find her place within it. The camera hangs around on Martina’s hands as she draws, shedding light on  her emotions and the desire for her  to have a sense of home. Another compelling moment occurs when Martina finds a connection with online communication with a young man from Libya named Mahmoud. During their digital exchanges, the viewers of the film get to see the combination of two worlds and the bridges of geographical divides. In one particular exchange, Mahmoud shares stories from his own life in Libya, giving Martina a view into a world she has never known. These major conversations are a major character building moment within the film, serving as a catalyst for Martina’s “soul searching”, causing her to confront the complexities of memory and the fluidity of identity.

The film also strategically mixes the  historical context with personal narrative, putting the spotlight on the major negative implications of displacement. In a flashback scene, viewers are taken to the political turmoil of 1969, as Antonio Melilli and thousands of other Italians are exiled from Libya following the major government overthrow (coup d’etat) of  Gaddafi. This major moment in history shadows largely over Martina’s journey, building her understanding of self and family.

As Martina goes deeper and deeper into her family’s history, she deals with the selective nature of memory and the ways in which it shapes personal stories. In a short moment of recollection, Martina confides in Mahmoud about her struggles to fully grasp and understand her Italian heritage with her family’s connection to Libya. Through their dialogue, viewers are meant to think about the intricacies of cultural identity and the shifting ideals behind a sense of belonging.

All in all, My Home in Libya is a cinematic masterpiece that allows a connection with viewers on a major emotional level. Through its vivid storytelling and deep character development, the film invites audiences to embark on a journey of self-discovery and introspection. By tying together direct scenes and evidence from the film, viewers are transported into Martina’s world, where the search for identity and belonging takes center stage. In an era marked by geopolitical disruption and cultural changeability, My Home in Libya  serves as a steady reminder of the  human longing for connection, understanding, and a place to call home.

Works Cited

My Home in Libya [Martina Melilli] (2018)

Dissecting Heya Fawda: A Cinematic Exploration of Egyptian Society

By: Yasmina Toumi 

In 2007, Egyptian cinema witnessed the release of Heya Fawda, which is Arabic for “Chaos, It Is.” The film offers a thought-provoking portrayal of contemporary Egyptian society. Directors Youssef Chahine and Khaled Youssef delve deep into the intricacies of Egyptian urban life, shedding light on the multifaceted issues plaguing the nation. Through its narrative and characters, Heya Fawda offers a compelling critique of societal norms, corruption, and the struggle for justice. The film’s target is the erosion of citizens’ rights and the rise of corruption.  

The idea of one bad-apple police officer is introduced through the character of Hatem. The film focuses on Hatem as a corrupt police officer in Cairo who rules the neighborhood like that of a mob moss. He threatens his fellow Egyptians and fixes their problems, most of which he has created, in exchange for sums of money. Hatem also keeps political dissidents in the basement of the local police station. He tortures them and keeps them locked away against orders to release them from young district attorney Sherif. Sherif is the son of a schoolteacher who mentors a young former student named Nour. Nour is madly in love with Sherif who is, against his mother’s wishes, dating a young woman who smokes marijuana, likes to drink, goes dancing, and has tattoos. 

Sherif’s girlfriends acts as an embellished symbol of Western influence. Nour however is the epitome of a nice young Egyptian woman. She is intelligent, reserved, and respectful. Nour is every mother’s dream match for their son.  

Unfortunately, she is also the subject of Hatem’s desire. The obsession that the brutally corrupt police officer has with the young woman is unhealthy. He watches her from his window as she showers. He breaks into her apartment and steals her personal items to sleep with. He even purchases a life-size inappropriate picture of her that he created. Nour shuts Hatem down multiple times despite his persistence. The obsession turns dangerous when Nour and Sherif become engaged. Hatem ends up kidnapping and sexually assaulting Nour. This tragic act is what ultimately leads the people to rebel against Hatem. The neighborhood bands together and riots outside the police station. The secret prisoners are found and freed and the mob surrounding the police station keeps Hatem from fleeing.  

Despite the heavy and serious subject matter in the film there are dramatic and embellished elements to the film that keeps it from getting too heavy. The movie has a soap opera like feel to it. There are Bollywood themes through smoldering glances and prostitute dance numbers. Even the character of Hatem has the qualities that of a buffoon villain in a cartoon. This is to say that the directors managed to bring theatrical and somewhat light moments to a serious subject matter. The film does not shy away from highlighting serious issues like corrupt government officials, torture, blackmail, gender imbalances, sexual assault, and more. In conclusion, Heya Fawda emerges not only as a touching cinematic critique of contemporary Egyptian society, exposing the rot of corruption and the struggle for justice, but also as a testament to the resilience of communities against oppressive forces, balancing serious social commentary with theatrical elements that both captivate and provoke reflection.  

Works Cited 

Bennett, Ray, and The Associated Press. “Chaos (Heya Fawda).” The Hollywood Reporter, The Hollywood Reporter, 19 Feb. 2011, www.hollywoodreporter.com/movies/moviereviews/chaos-heya-fawda-159517/.

Marshall2007-09-11T16:39:00+01:00, Lee. “Chaos (Heya Fawda).” Screen, 11 Sept. 2007,www.screendaily.com/chaos-heyafawda/4034520.article#:~:text=The%20film%20is%20peppered%20with,a%20narro w%2Dminded%20Islamic%20party.

Heya Fawda. Directed by Youssef Chahine, Khaled Youssef, Performances by Khaled Saleh, 

Menna Shalabi, and Youssef El Sherif, Misr International, 3 B Productions, 2007. 

On Hiya Fawda

By Kole Redwood

The film Hiya Fawda, a title that is translated to “Chaos” from Arabic, is a film that was directed by Egyptian directors Youssef Chahine and Khaled Youssef, and is an Egyptian melodramatic film commentating on the political state of Egypt. It specifically takes its time to commentate on the political corruption that is often seen in the country. The film takes a long and detailed look into the political corruption that is common throughout the country. Especially since the film makes a bold choice by deciding to have a major focus person with the power, who the audience watches slowly become more and more corrupted and in turn, power hungry and watch the character slowly delve into madness because of the effect of so much power has done on his mindset.

The film takes a detailed look into the mindset of the character Hatem, who starts out as an already corrupt political leader. The audience watches as Hatem takes bribes, jail innocents and overall commit large amounts of illegal activity because of his corruption. The audience watches as Hatem’s hunger for power further corrupts him, committing more and more egregious acts as the film progresses. Such as when the film shows him start to punish and torture prisoners for his own amusement. The film uses this character as not only a way to shed light on the political corruption in Egypt, but at the same time also critiques it. It reveals to the audience how someone in power could have this mindset, and how that mindset can further corrupt someone until they eventually descend into complete madness.

The film also takes a stance to depict not only political leaders’ corruption, but the corruption of the legal system as a whole. It depicts situations such as police brutality, and the false imprisonment of innocents in order to shed light on how deep political and legal corruption runs in the country. The film takes a large stance against this corruption, critiquing it as a whole since it depicts the actions as an inherently bad thing, showing these actions as actions committed by evil, power hungry people who corrupt their systems from the inside. It also critiques several stereotypes that are prevalent. Such as the main character being a woman, Naur, who Hatem has developed a love based obsession for. The film, depicts Hatem brutally assaulting, kidnapping and raping the main character. However, the film does its best not to bring Naur down because of it, instead it is a sense of community and strength for her. Since the film shows that a riot is created in order to hold her rapist accountable. Showing that Hatem’s hunger for power was what had ultimately led to his downfall.

In general, Hiya Fawda is a film that critiques and commentates on the state of corruption that is prevalent in Egypt. It takes a strong stance against this corruption, while at the same time counteracting many Egyptian stereotypes with its characterization of its characters. Overall being a very substantial film filled with combat of both political corruption and the stereotypes of Egyptians.