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. 

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.

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. 

Exploring the Depths of Humanity: A Review of “Cairo Station” by Youssef Chahine

By Antoniah Etienne

The film “Cairo Station” (1958) is a powerful critique of the human condition, set in the
bustling streets of Cairo, the capital of Egypt. It explores themes such as love, obsession and
social marginalization, as well as the complexities of human relations and urban life. “Cairo
Station” is primarily concerned with the social hierarchy and economic inequalities that exist in
Egyptian society. The film follows the story of a disabled newspaper vendor, Qinawi, who falls
in love with the beautiful soda vendor, Hannuma. Qinawi’s obsession with Hannuma is a
metaphor for the despair and loneliness of those who are considered undesirable or insignificant
in society.
The cinematography of “Cairo Station” is one of the most impressive aspects of the film. It
captures the atmosphere of the station and the chaotic streets of Cairo, with Chahine’s skillful
direction that immerses the viewer in the chaos of urban life. The film’s use of long shots and
close-ups creates an intimacy and tension that draws the viewer into the characters’ inner
turmoil. The film also offers a nuanced look at gender and sexual politics in Egyptian society.
Actress Hind Rostom plays Hannuma, a woman who challenges traditional gender norms by
asserting her autonomy and self-determination in a patriarchal society. Hannuman’s interactions with the protagonist, Qinawi, as well as other male characters, serve as a reminder of the difficulties that women face in meeting societal expectations while also asserting their autonomy.
While “Cairo Station” is undeniably a compelling and thought provoking film, there are a
few things that could have been better conveyed. One of the most glaring issues is how the
character of Qinawi (the disabled newspaper vendor in love with Hannuma) is portrayed. His
obsessive behavior serves as the film’s central theme, but some critics argue that this
one-dimensional portrayal of him reinforces negative stereotypes of disability and mental illness, detracting from his character’s complexity and detracting from the movie’s exploration of social marginalization. The subplot of Hannuma’s relationship with Abu Siri (her fiancé) is also underdeveloped and lacks depth. Hannuma and Abu Siri’s relationship is overshadowed by their central romance, leaving viewers with questions about what their relationship really means and how it fits into the larger narrative. A more in-depth exploration of Hannuma and Abu’s relationship could have added to her character’s depth and provided valuable insight into the dynamics of gender and power struggles within Egyptian society. “Cairo station” is an engaging and visually stunning movie, but its shortcomings prevent it from achieving its full potential as a thoughtful exploration of human relationships.
In conclusion, “Cairo Station” remains one of the most important Egyptian films of all time.
It’s a captivating tale of urban life and social marginalization. The film’s characterization of
some characters and sub-plots may not be as insightful as it could be, but the film’s overall
themes of love, lust, and social injustice strike a deep chord with viewers. Despite its
shortcomings, ‘Cairo Station’ stands as an example of how cinema can inspire thought and ignite dialogue about the complexities of the human experience. As we navigate through the
ever-changing world of modern life, the lessons we learn from “Cairo Station” remain a reminder of the constant struggle for dignity and a sense of belonging in a world full of difficulties.

Hiya Fawda: Justice Is Served?

By TAYLEY COTTON

Hiya Fawda is a melodramatic film that openly criticizes the corruption of the Egyptian law enforcement through the story of a preventable rape. Hatem is a pathetic, little man; he uses torture and other fear tactics to coerce people into submitting to him. His cowardice is satirical, and it slightly brightens the film’s dark themes. Unfortunately, this story does not have a happy ending; there is no justice for Nour. This blog post examines the concept of brutality through the satirical character Hatem, and how that demonstrates the corruption within the Egyptian government.

            The progression of Hatem exercising control over others throughout this film is nothing short of brutal. In his drive for power, the audience sees him commit heinous crimes. For instance, when Hatem is extremely angry, he tortures the prisoners just to feel a sense of control over himself. His methods for emotional regulation are inhumane. Later, it is revealed that these prisoners are being unlawfully detained. But the law enforcement officials protect each other, which reinforces the current corrupt system and allows for the continuation of mass police brutality in the streets. Eventually, the civilians realize they are much larger in numbers compared to the police force, which demonstrates the sheer psychological control that the police officials once held over the civilians. This in and of itself is brutal, as the systems that are put in place to protect people, instead, actively harm them.

Hatem’s brutality is also revealed when he abuses his power to kidnap and rape Nour. No one tries to stop him, because they know he will target them if they disobey his orders. Thinking he is not going to face repercussions for his unlawful actions, Hatem feels entitled to Nour’s body. As the next sinister events unfold, the audience is forced to see Nour’s helplessness. This part of the film is utterly gut-wrenching. Hatem’s crimes and the law enforcement’s unwillingness to hold one another accountable ultimately reflect a deep, systemic problem of the corruption of the government. While Nour’s rapist is dead, the same corrupt law enforcement is in power, and the corrupt system has not changed. There is no happy ending for Nour; her trauma is a brutal punishment for a crime she does not commit.

Hiya Fawda successfully demonstrates the corruption within the Egyptian government through Hatem’s brutality. While Hatem’s character is fictional and satirical, this film clearly portrays the government as an unjust power due to the law enforcement’s crimes of unchecked torture and rape and police brutality. Furthermore, Hatem’s character repeatedly demonstrates how the government deliberately endangers its innocent civilians without remorse, revealing that the government does not protect, but rather, it harms its own people. However, there is a sliver of hope for the people living under the Egyptian government. While the system itself may not change overnight immediately following Hatem’s demise, the people realize they are capable of demanding justice, as they are far greater in numbers. This sets the precedent for the people demanding change. It instills hope into and boosts the morale of those who dare to stand for what is just.

Works Cited

Hiya Fawda. Directed by Youssef Chahine, and Khaled Youssef, created by Nasser Abdel

Rahman. Misr International Films, 2007.