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. 

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.

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.

Rachida: Hope among despair

by Vanessa Rivera & Lucia Villanustreby

In Algerian cinema, few films have managed to paint a picture as vivid and heartwrenching as Rachida, Directed by Yamina Bachir, the film navigates through the tumultuous landscape of Algeria in the 1990s, a time marred by extreme violence and societal upheaval. Rachida stands as a beacon of storytelling and the film ventures into the heart of societal upheaval and personal turmoil. Rachida, a young schoolteacher, serves as the embodiment of resilience and grit amidst chaos. At the heart of this narrative is Rachida, whose ordinary life is brutally interrupted by a terrorist attack, forcing her into a journey of survival, identity, and resilience. This blog aims to delve into the intricate layers of conflict and personal struggle depicted in the film, exploring not just the socio-political commentary but also the profound human emotions that resonate with viewers globally. 

The opening scenes of Rachida establish a serene, almost idyllic setting, creating a stark contrast to the undercurrents of fear and tension that permeate the society. The ordinary life of Rachida, played with compelling authenticity by Ibtissem Djouadi, is shattered when she is confronted by terrorists demanding she plant a bomb in her school. Her refusal, an act of sheer bravery and moral fortitude, sets the tone for the rest of the film. This moment propels the narrative forward, plunging Rachida and the audience into the harrowing realities of a country ravaged by internal conflict.

As Rachida’s journey unfolds, the film meticulously portrays the psychological and physical landscapes she navigates. After surviving a brutal attack, Rachida’s world is irrevocably changed. She finds herself displaced, moving from the bustling streets of Algiera to the remote countryside. This transition from urban to rural settings is not just a change of scenery; it symbolizes Rachida’s transition from a life of normalcy to one of survival. The contrast between the two environments serves as a poignant backdrop to the internal turmoil experienced by Rachida and those around her.

One of the most compelling aspects of Rachida is its unflinching portrayal of the impact of terrorism on ordinary lives. Through the eyes of Rachida, the audience is confronted with the harsh reality of living under the shadow of constant threat. The film does not shy away from depicting the brutality of the violence, nor does it romanticize the suffering of its characters. Instead, it presents a raw, unvarnished look at the physical and emotional scars left by such violence. The film also delves into the themes of resilience and hope amidst despair. Despite the atrocities she faces, Rachida’s spirit remains unbroken. This resilience is mirrored in the characters around her, particularly the women, who are depicted as pillars of strength and endurance. Through these portrayals, the film pays tribute to the silent resilience of women who bear the brunt of conflict but continue to hold their families and communities together.

In dissecting Rachida, it is impossible to overlook the cinematographic choices that enhance the storytelling. The use of natural lighting, close-up shots, and the stark contrast between the vibrant cityscape and the desolate countryside all contribute to the film’s emotional depth and realism. When the audience looks closely at how Rachida was filmed, it is clear that every little detail was carefully thought out to make the story even more powerful. For example, the natural lighting does not just show us what things look like, it also represents the small bit of hope that shines through even in difficult times. Close-up shots let us see the characters’ feelings up close, so the audience gets to understand what they are going through. And when we see the busy city scenes compared to the quiet countryside, it reminds the audience of the big difference between city chaos and peaceful country life. These elements not only serve to heighten the sense of immediacy and intimacy but also to underscore the film’s underlying themes of contrast: between peace and violence, hope and despair, and life and death.

Expanding further on the exploration of Rachida, it is important to dive deeper into the socio-political context that underlines the narrative. Algeria in the 1990s was a nation struggling with the aftermath of a civil war and a surge of Islamist insurgency. Against this historical background, Rachida serves as a heartfelt reflection of how the conflict had affected people. The character of Rachida embodies the collective trauma experienced by ordinary Algerians caught in the crossfire of ideological strife. Her journey from innocence to experience shows the nation’s transition from stability to chaos. The film offers a nuanced portrayal of the complexities of identity in a society torn apart by violence. Rachida’s refusal to comply with the terrorists’ demands showcases her moral integrity as well as underscores her unwavering sense of self. In a place where people change their loyalties often and it is hard to trust anyone, Rachida’s determination inspires everyone who knows her. 

Another aspect worth exploring is the role of education as a beacon of hope during turmoil. As a schoolteacher, Rachida embodies the transformative power of knowledge and enlightenment. Despite the dangers lurking outside the confines of her classroom, Rachida remains committed to nurturing the minds of her students, instilling in them the values of compassion, tolerance, and resilience. Additionally, Rachida shines a light on how communities stay strong in adversity. Beyond Rachida herself, the film portrays a diverse array of characters dealing with the consequences of violence. From Rachida’s mother staying strong, to women supporting each other through tough times, the film highlights how people can overcome even the hardest challenges. 

In conclusion, Rachida is a film that goes beyond the confines of traditional cinema to offer a nuanced and deep exploration of identity, resilience, and hope. With its interesting story, well-developed characters, and beautiful cinematography, the film leaves an impression on viewers, prompting reflection on the universal themes of courage, morality, and strength found within people. As Algeria continues its journey of healing and reconciliation, Rachida stands as an important reminder that even in hard times, there is always hope. 

Corruption, Women, and Stereotypes in Hiya Fawda

By Gracie Garrison

The film Hiya Fawda, Arabic for “It is Chaos,” truly earns the meaning of its title.
Directed by Youssef Chahine and Khaled Youssef, Hiya Fawda is a commentary on the corrupt
government and police systems in Egypt. Director Chahine is quoted by The Columbia Dispatch
stating that the film “is not about torture, it’s about the repression and corruption that prevail in the Egyptian authority.” Its major themes reflect Egypt’s political situation at the time, while also posing a commentary on the strength of the women in that society. The depiction of Egyptian culture throughout the film also works to combat common Hollywood stereotypes of Arab nations, namely portraying them as ‘desert people’ with the lack of cultural advancement.
Hiya Fawda’s central purpose as a text works to reveal the corruption that can stem from
‘one bad apple’ within an institution. The opening scene of the film features protests in the
streets, as police lock away protesters for no lawful reason. The almost-likable villain, Hatem, is
the personified representation of this police corruption and brutality. He ravages the town, taking advantage of his powerful position by taking money for ‘favors,’ as well as locking away anyone that he wishes without lawful reason. His control and influence not only over the town, but within the police force, allows him to act as he pleases, as seen in his dungeon of hidden
prisoners as well as his violent beating and torture of the prisoners. Gordon states that Hatem
“presents the real rot of society” (107). He shows how one ‘bad apple’ within an institution, can
bring so much harm to society.

The main female characters in Hiya Fawda, portray feminine resilience and strength.
Nour, a teacher at the school, longs for her headmistress Widad’s son, Sharif. However, Nour is
sought out by Hatem, who has an unhealthy obsession with her. Nour rejects Hatem over and
over again, never giving into his perverted charms. However, Hatem tricked Nour and
subsequently abducted her, he then beat her senseless and proceeded to rape her. Nonetheless, when Nour awoke, she picked herself up, and figured out how to get home. When Widad and Nour’s mother understood the gravity of the situation, they later led a riot in the streets to go and capture Nour’s rapist, capitalizing on the town’s hate for Hatem. For women to be leaders of this riot is significant, revealing their strength throughout the film.

Throughout Hiya Fawda, typical Hollywood stereotypes of Arab cultures are combated.
The thriving cinema scene in Egypt was originally coined the “Hollywood of the Orient,” as
stated by Schochat (23). Yet, as seen in Hiya Fawda, typical stereotypes of ‘desert people’ as
portrayed in the West, are discredited. Themes of Western culture are not borrowed, and
Egyptian identity is established. Widad’s role as a respected mother for Sharif resembles family
cultures and values in the society. Also, Sharif’s girlfriend can also be seen as a representation of Western culture. Her short skirts, promiscuous lifestyle, and disrespectful attitude could be
attributed to views of the West (Marshall). Hiya Fawda combats stereotypes and creates its own
narrative culture.

Works Cited
“Chaos, This Is.” IMDb, IMDb.com, 28 Nov. 2007, http://www.imdb.com/title/tt1085799/.
Hiya Fawda. Directed by Yousef Chahine and Khaled Youssef, 2007.
Joel Gordon. “Chahine, Chaos and Cinema: A Revolutionary Coda.” Bustan: The Middle East
Book Review, vol. 4, no. 2, 2013, pp. 99–112. JSTOR, https://doi.org/10.1163/18785328-
13040201.
Marshall, Lee. “Chaos (Heya Fawda).” Screen, 11 Sept. 2007, http://www.screendaily.com/chaosheya-fawda/4034520.article.
Schochat, Ella. “Egypt: Cinema and Revolution.” Critical Arts 2 (1983): 22-32.
Staff Writer. “New Film Exposes Abuses by Police.” The Columbus Dispatch, The Columbus
Dispatch, 27 Jan. 2008, http://www.dispatch.com/story/news/2008/01/27/new-film-exposesabuses-by/23340236007/.

My Home, In Libya – Martina Melilli ★★★☆ ☆ 3/5

By Catelyn Chauncey

Following her own experience in human connection, Martina Melilli creates a
compelling narrative in her documentary, “My Home, In Libya.” The documentary is an
artistic dissertation that observes Melilli’s journey in reconnecting with her cultural
ethnicity. Through her striking visuals and cohesive narrative, Mellili brings viewers on a
journey of dissecting her Libyan heritage through her connection with a Libyan man she
meets online, Mahmoud.
The heart of Melillis’s documentary is the exploration of her cultural identity.
Melilli herself cannot visit Libya due to political unrest, so she speaks to Mahmoud
online, who currently lives in Libya. The movie is composed of 3 repeating scenes;
artistic shots of significant motifs, Mahmoud and Melilli’s text exchanges, and Melillis’s
conversations with her grandparents. This cycle composes Melillis’s story of cultural
reconnection. Mahmoud sends Melilli videos and photos of personally significant areas
of Libya and throughout these exchanges, they develop their friendship. At one point in
the film, Mellili and Mahmoud confess that they feel like the other is their only emotional
reprise. Mellili grapples with her own identity as a second-generation immigrant whose
life only exists in Italy because her Grandpa was forced to leave his birthplace.
Mahmoud’s experience with the declining political conditions in Libya essentially
mirrors her grandfather’s history in Libya. Melillis’s experience with cultural rediscovery
may be something that reflects many people’s experiences; often children of immigrants
and victims of political unrest will go through similar emotions. The documentary is very
strong in its portrayal of her experiences and the journey you are invited along to is very
compelling.
Melilli conveys this journey through the use of artistic cinematography and
visuals. Her composition of imagery brings you along for an intimate emotional narrative.
Melillis’s use of symbolism in her imagery captures the nuances of her emotional journey.
Scenes of the ocean appear repeatedly throughout the film. The ocean as a motif can
communicate many of the emotional themes seen throughout the documentary; hope,
discovery, fear, destruction, and limitation. Melillis fascination with the sea as a visual
changes its tone throughout the documentary, beginning as a symbol of her hope and
journey of discovery and morphing into an intimidating, endless expanse as Mahmoud’s
conditions worsen. The imagery of the sea both represents Melilli’s own emotions and the
physical divide between her and Libya. Melilli communicates all of these emotional
intricacies simply through the artistic nature of her film style. This all makes the
documentary a unique and captivating watch, as it all feels so incredibly intimate, while
also making the documentary visually compelling and aesthetic.
Melilli’s use of film as an artistic medium makes following her journey makes her
dissertation stand apart from other, more conventional, delivery methods. The film itself
creates a catalyst for self-reflection in the viewer; perhaps into their own cultural identity,
or merely the absorption of Melilli’s emotional journey. The entire film serves as a
meditation on how human connection builds our cultural identity.