Arab cinema orArabic cinema (Arabic:السينما العربية,romanized: al-sīnemā al-ʿArabīyah) refers to the film industry of theArab world. Most productions come fromEgyptian cinema.[2][3][4][5]
The first screening of a motion picture inEgypt occurred inAlexandria in 1896 by the FrenchLumière Brothers.[6] The Egyptian industry developed fromsilent movies totalkies, withmusicals being the bulk of the productions in the 1930s and 1940s.[7][8] Of the first Arab-produced films was the 1923 Egyptian filmBarsoum Looking for a Job,[9] andLaila, released in Egypt in 1927,[10][11] while the first Arabic speaking film wasAwlad El-Zawat, also released in Egypt in 1932.[12]Studio Misr, founded in 1935, was the first national studio of its kind in the Arab world.[13][14] The period from the late 1940s to 1960s has been described as "the golden age of Arab cinema", as Arab actors from across theMiddle East headed to stardom inCairo.[8] During this period, notable actors includedHind Rostom,Mahmoud el-Meliguy,Anwar Wagdi,Fayrouz andSoad Hosny.[15] In the 1950s, Egypt's cinema industry was the world's third largest.[16] In 1976, theCairo International Film Festival was established, becoming the firstfilm festival to be held in the Arab world.[17][18]
Due to the success of Egyptian theater in the 1920s in bothcomedy andmelodrama, this success fostered a transition into cinema, with both these genres leading the way. Prominent figures from the world of melodrama, such asYoussef Wahbi, Ahmed Allam, andAmina Rizq, transitioned from theater to film, as did comedic stars likeNaguib al-Rihani, Fawzi Al-Gazaerli, and Ali Al-Kassar.[19]
Egypt has also contributed to theaction genre with actors such asYoussef Mansour who became famous in the 1990s for hismartial arts films.[20][21]
The Egyptian-JewishFrenkel brothers – Herschel, Shlomo, and David – are regarded as the pioneers of the art ofanimation in Egypt and the Arab world. Inspired by early American cartoons andsilent comedies, they released their first animated film in 1936 titledMafish Fayda.[22] The first Arabic-languageanimation series wasMishgias Sawah (1979), released in Egypt,[23] while the first feature-length Arab animated film isThe Knight and the Princess, also released in Egypt in 2019.[24][25] Egyptian Cinema also contributed with Bakar, an Egyptian animated series that introduced the first true Egyptian Nubian cartoon character. It was created by the late director Mona Abul Nasr, who directed several episodes of the series before her passing in 2003. After her death, her son, Sherif Gamal, continued the series. The show stopped airing in 2007. The series also gained popularity due to the animation series' opening and closing sequences, which were performed by the renowned artistMohamed Mounir. This title song became iconic and beloved by Egyptians of all ages. This series also featured unique geometric patterns and distinctive Nubian-inspired costume elements.[26]
The firsttelevision drama in the Arab world,Hareb Min el-Ayyam, was broadcast from Egypt in 1962 duringRamadan.[27] Often called the era of New Arab Cinema, during the mid-1960s to the mid-1970s, the influence of Italianrealism and the response to political upheavals combined to create a body of independent Arab films that included traces of Arabmelodrama. In 1972, the Kuwaiti drama filmBas ya Bahar became the first narrative feature film in theGulf, and is considered one of the most important Arabic-language films in Arab filmmaking.[28]
Egypt's domination of Arab cinema has been credited to its development of thedramatic arts, wealth ofstudios, experienceddirectors, technicians,film stars,singers andbelly dancers.[29][30] Since the 2010s, a "new wave" of Arab cinema has included films that explore links withgenre cinema – includingfantasy,sci-fi andhorror.[31][32] Since theArab Spring, Arab films have also become morepolitical.[33] In what has been described as a "vibrant new era" of Arab cinema, the 2020s has seen a growth in theSaudi film industry, with some stability in Egypt,Tunisia andMorocco.[34] In 2023, the Egyptian 3Dhorror filmDay 13, became the first Arabic3D film.[35] In the same year, the Saudi horror film,The Cello, became the first Arabic international horror film.[36] Also that year,Sukkar, backed by the Saudi-owned production houseMBC Group,[37] was touted as the Arab world's first musical movie in the Western canon.[38] Currently, the Middle East's largest cinema chain isVox, owned byUAE-basedMajid Al Futtaim Cinemas.[39]
Arab cinema includes films from various countries and cultures of the Arab world and therefore does not have one form, structure, or style.[40] Arab cinema mostly includes films made inEgypt,Lebanon,Syria,Iraq,Kuwait,Algeria,Morocco, andTunisia;[40] however, by definition, it also includesBahrain,Djibouti,Jordan,Libya,Oman,Palestine,Qatar,Saudi Arabia,Somalia,Sudan,United Arab Emirates, andYemen. In its inception, Arab cinema was mostly an imitation of Western cinema. However, it has and continues to constantly change and evolve, as each country in the region has its own unique characteristics and identifiable brand of cinema.[40]
Egypt, in particular, is a pioneer among Arab countries in the field of cinema.[45] A sustained film industry was able to emerge in Egypt when other parts of the Arab world had only been able to sporadically produce feature-length films due to limited financing.[40] As such, Arabic cinema is dominated by films from Egypt, where three quarters of all Arab movies are produced. According to film critic and historianRoy Armes, Lebanese cinema is the only other cinema in the Arabic-speaking region that could amount to anational cinema.[46]
While Egyptian and Lebanese films have a long history of production, most other Arab countries did not witness film production until after independence. Even at the end of the 20th century, most film productions in countries like Bahrain, Libya, Saudi Arabia, Sudan, and the United Arab Emirates are limited to television or short films.[47]
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Elsewhere inNorth Africa and theMiddle East, film production was scarce until the late 1960s and early 1970s, when some filmmakers began to receive funding and financial assistance from state organizations.[40] It was during the post-independence era, when Arab cinema in most countries started.[48] Most films produced at that time were funded by the state and contained a nationalistic dimension. These films helped to advance certain social causes such as independence and other social, economic and political agendas.[48]
There is increased interest in films originating in the Arab world. For example, films from Lebanon, Algeria, Morocco, Palestine, Syria, and Tunisia have been shown more often in local film festivals and repertoire theaters than during the late 1900s.[49]
Arab cinema has explored many topics from politics, colonialism, tradition, modernity and social taboos.[50] It has also attempted to escape from its earlier tendency to mimic and rely on Western film styles.[50] In fact, colonization did not only influence Arab films, but it also had an impact on Arab movie theaters.[2] Also, the portrayal of women became an important aspect. Arab woman shaped a great portion of the film industry in the Arab world by employing their cinematic talents in improving the popularity of Arab films.[2]
However, the production of Arab cinema has also experienced decline, and filmmakers in the Middle East have been trying to "face up to their reality".[51]
Full-length feature films began to be produced locally in the Arab world after the 1920s. For instance, the Egyptian filmLaila in 1927.[2] At that time, the process of inserting sound into movies used to be done inParis, andEgypt was only able to produce twosound films, one titledAwlad Al-Thawat (Sons of Aristocrats) and the otherUnshudat Al-Fu’ad (The Song of the Heart).[2] In addition to the Syrian filmAl-Muttaham Albari' (The Innocent Accused), presented in 1928,Mughamarat Ilyas Mabruk (The Adventures of Ilyas Mabruk) in Lebanon in 1929. Although these films were produced in the Arab world, they mostly were directed, produced, or showed artistic influence from foreigners or immigrants.[2]
Arab cinema did not flourish before the national independence of each of them, and even after, the films production of Arab cinema was restricted to short-length films.[52] However, there were exceptions for some of them. For example,Egypt scored the highest number in producing films and produced more than 2,500 feature films.[52] During the 1950s and 1960sLebanon produced 180 feature films.[52] Two full-lengthKuwaiti films were produced at the end of 1970s, and a full-lengthBahraini film was produced in 1989.[52]Syria produced around 150 films,Tunisia approximately 130,100 films were produced each inAlgeria andIraq, almost 70 inMorocco and thefilms made in Jordan were less than 12.[52]
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The influence of films and cinemas on Arabs was due to the effect of the West on the Arab world; therefore, natives were not the owners for the movie theaters that are located in their own lands.[2]
The first cinema inEgypt was built by the French companyPathé in 1906 inCairo, aside from thecinématographe that was owned by theLumière Brothers inAlexandria andCairo.[2] InTunisia, they had the Omnia Pathé, which did not launch before 1907.[2]
In 1908, a cinema called "Oracle" was opened inJerusalem byEgyptian Jews. Also in 1908, in some ofAlgerian cities, cinemas were built in places depending on the population ofEuropeans who lived there, such as inOran.[2] Less than 20 years later, most of the Arab countries had more than a theatre for films screening.[2] InSaudi Arabia andNorth Yemen, cinemas were not accepted or were prohibited because of religious objections.[2]
Between the 1960s and 1970s, however, this issue was, in general, solved and accepted byKing Faisal of Saudi Arabia.[2] In alliance with theCrown Prince of Saudi ArabiaMohammed bin Salman's vision of 2030, which calls to expand the artistic, cultural, and entertaining fields in the country, there opened the first cinema inJeddah on 18 April 2018.[53]
The history of the Arab cinema was impacted by political challenges such as theEgyptian revolution of 1952,defeat by Israel in 1967, and thePalestinian resistance.[50]
During the 1952 Egyptian revolution, thefeudalist system was substituted with anationalist ideology led by theRais.[50] This new government had impacted the film industry, in which many of the films produced were ‘social realist’ works depicting the real life of Egypt.[50] Many of the films produced bySalah Abou Seif in 1952 wereneorealism such asMaster Hassan, which portrayed the difficulties of the different classes inCairo.[50] This system is said to be derived from theItalian neorealism, though it was not very successful as only a few films were produced.[50]
After theArab nation was defeated byIsrael in 1967, an Association of New Cinema was introduced, the representatives of which wrote a manifesto in 1968 calling for "the emergence of anew cinema with deep roots in contemporary Egypt,"[50] wherein "It is necessary to establish a real dialogue within the Egyptian culture to create new forms."[50] However, thePalestinian resistance has inspired many of the Arab filmmakers since 1948 to produce films about their struggle.[50] In fact, in 1972, an Association of Palestinians was developed to bring all the Arab filmmakers together whose work was about the Palestinian resistance.[50]
Samia Gamal is regarded as one of the most prominent Egyptianbelly dancers in the golden era ofEgyptian cinema.[54] Her influence extended beyond the realms of Arabic cinema.[55] She is credited with bringing belly dancing from Egypt toHollywood and from there to the schools of Europe.[56]
Women succeeded in representing 6% of the total number of feature filmmakers in theMaghreb during the 1990s, and less in percentages in theMiddle East.[57] The first35mm feature film to be directed by an Algerian woman wasRachida (2002), by directorYamina Bachir-Chouikh.[57]
In the 2000s, the number of women in the film medium increased and was likeable inLebanon,Morocco, andTunisia.[57] Arab women directors were more considerable to women's lives in the Arab world. Arab women also pioneered in screenwriting, where such people as Algerian novelists and prize-winningAssia Djebar andHafsa Zinaï-Koudil made their own feature films,[57] released in 1978 and 1993 respectively.[57]
Women from the Middle East who were interested in filmmaking were cared of since they, who were born during the 1960s and 1970s, were sent to study about this medium in theUnited States, such asNajwa Najjar from Palestine and Dahna Abourahme from Lebanon, and others who studiedParis,Canada, andNew York.[57] Therefore, the European style in their feature films is noticeable, apart from the effect of colonization.[62] Arab women filmmakers also had an important role in providing sense of civil war traumas that happened during the war,[63] as well as touching on social issues that were specifically related to women, such as sexual abuse.[63]
Pursuing a film career was risky in the 1930s, especially for women, due to their traditional domestic roles at the time. Nonetheless, one of the trailblazing female pioneers in Egyptian cinema,Bahiga Hafez, boldly assumed a leading role in shaping the emerging film industry as a producer, director, and composer. The peril of her work is almost (but never entirely) offset by the remarkable achievement of her debut film,Al-Dahaia (The Victims, Egypt, 1932).[64]
The new generation of filmmakers born in the 1960s had used cinema as a way of expressing theirnational identity and the political history of their countries, since theMiddle East experienced many political upheavals, including wars and invasions.[65] Although these independent filmmakers had their own cinematic approaches, they were heavily influenced by theWest, especially byFrance through European film training and other programs that were offered.[65]
TheseArab filmmakers produced films concerning issues related to the freedom of expression and the role of women in society.[65] In fact, filmmakers such asNadia El Fani andLaila Marrakchi made films that were sexually explicit and unlikely to be depicted in public Arabic cinemas.[65] These female filmmakers and many others, especially fromLebanon,Tunisia andMorocco focused on shedding light on women's issues on the Arabic screen.[65] However, Armes believes that "the views of the 2000s generation [of filmmakers] are defined by the pressures and possibilities of globalization.[65]” Many of theArab independent filmmakers have hybrid identities and the different personal and global references are reflected in their films, which Rizi describes as "transnationality".[65]
For example, the producer of theLast Friday is Palestinian-Jordanian who was raised inSaudi Arabia and worked in the city ofAmman.[65] These cosmopolitan identities of independentArab filmmakers have given them access to major funding institutions.[65] Furthermore, the rise of new digital technology in theMiddle East has aided in the production of documentary films by young filmmakers through the availability of equipment.[65] Thus, the filmFive Broken Cameras by a Palestinian director speaks of the influence of these technologies in the region.[65] Apart from documentaries, feature films covered issues of national identity, life in the diaspora and nostalgia, as they were aiming to connect outsiders with theArab society.[65] For example, the Algerian feature filmBled Number is about an Algerian who leftFrance and returned toAlgeria, where his family greeted him with love and support.[65] TheseArab filmmakers have reflected the national, political and historical context of their countries in their films and also discussed issues related to criticism, freedom of expression and women's social roles.[65]
There are numerousfilm festivals that have historically been and are held in various parts of the Arab world to both honor and showcase films from the Arab regions, as well as international standouts.
| Festival | Location | Description |
|---|---|---|
| Aswan International Women's Film Festival | Aswan,Egypt | The Aswan Women's Film Festival was founded in 2016.[66] |
| Beirut Cinema Platform | Beirut,Lebanon | The Beirut Cinema Platform is held every year in the spring.[67] |
| Cairo International Film Festival | Cairo, Egypt | This festival has been held annually in Cairo since 1976, and has been accredited by theInternational Federation of Film Producers Associations.[68] There is also another festival held inAlexandria. Of the more than 4,000 short- and feature-length films made in Arabic-speaking countries since 1908, more than three-quarters were Egyptian. |
| Carthage Film Festival | Tunis, Tunisia | Created in 1966, this festival takes place in Tunis rather thanCarthage, despite its name.[69] |
| El Gouna Film Festival | El Gouna,Egypt | This annual film festival was established in 2017, and is held in theRed Sea resort town of El Gouna.[70] |
| Luxor African Film Festival | Luxor,Egypt | Established in 2012, it is an annualfilm festival forAfrican cinema. In October 2019 theMalmö Arab Film Festival recognized LAFF for having "made great strides and [become] one of the most important festivals specialized in African cinema". The festival is run by the Independent Shabab Foundation (ISF). |
| Marrakech International Film Festival (FIFM) | Marrakech,Morocco | FIFM is an annual international film festival that has, since its inaugural year in 2000, been one of the biggest events devoted toMoroccan cinema. It is also the site of theprincipal photography of many international productions. The festival's jury gathers international writers, actors and personalities, and endeavors to reward the best Moroccan and foreignfeature andshort films. The FIFM is chaired byPrince Moulay Rachid of Morocco. |
| Red Sea International Film Festival | Jeddah,Saudi Arabia | Established in 2018 by the Kingdom's firstMinister of Culture,Badr bin Abdullah Al Saud, the team includes Saudi and international programmers, curators, and directors – all dedicated to connecting the world through film. The RSIFF brings the best in Arab andworld cinema to Jeddah. The Festival showcases new films on the Saudi big screen, alongside retrospective programs celebrating the masters of cinema, the latest Saudi films, and feature and short film competitions. There are also industry events and workshops nurturing the next generation of talent. A comprehensive industry program running alongside the public festival, the Red Sea Souk, is the opportunity to connect with the Arab film scene. In collaboration with theTorinoFilmLab, the Lodge hand-picked twelve emerging filmmakers, pairing each with a mentor to support and enhance their work throughout the creative process. The Red Sea Fund, a $10–million fund aimed at supporting projects with directors from the Arab world and Africa, is set to back more than 100 feature projects in its first year, as well as episodic content, and will also be open to short films from Saudi nationals. |
| Mogadishu Pan-African and Arab Film Symposium (Mogpaafis) | Mogadishu,Somalia | The inaugural Mogpaafis was held in 1987, bringing together an array of prominent filmmakers and movie experts from across the globe, including other parts of Northeast Africa and the Arab world, as well asAsia andEurope. Held annually in the Somalian capital ofMogadishu, the film was organized by theSomali Film Agency, the nation's film regulatory body.[71] |
| Tripoli Film Festival | Tripoli,Lebanon | Elias Khallat founded and continues to curate the annual Tripoli Film Festival, held every year in the spring in the city of Tripoli.[66] |
| Ajyal Film Festival | Doha, Qatar | The Qatari Film Festival Ajyal Film Festival was launched in November of 2013, with the aim to foster the film industry within the region and showcasing worldwide representation.[72] |
TheDubai International Film Festival (DIFF) was an internationalfilm festival based inDubai,United Arab Emirates. Launched in 2004, it aimed to foster the growth of filmmaking in the Arab world.[73] The DIFF is held under the honorary Chairmanship ofAhmed bin Saeed Al Maktoum. It was a not-for-profit cultural event, presented and organized by theDubai Technology, Electronic Commerce and Media Free Zone Authority.
DIFF presented cinematic excellence from around the world and offers a high-profile platform for aspiring home-grown talent. The Muhr Award for Excellence in Arab Cinema was launched in 2006, with the aim of recognizing Arab filmmakers both regionally and internationally. In 2008, theMuhr Awards for Excellence were expanded to include two separate competitions, the Muhr Arab Awards, and theMuhr Asia Africa Awards. It also introduced a new program segment dedicated exclusively to Animation.
TheAbu Dhabi Film Festival (ADFF) was another key international film festival in the larger Arab region. Created in 2007, the ceremony was held annually in October inAbu Dhabi, UAE by theAbu Dhabi Authority for Culture and Heritage (ADACH), under the patronage of Sheikh Sultan Bin Tahnoon Al Nahyan, Chairman of the ADACH. The ADFF aimed to encourage and foster the growth of filmmaking in theArab world by showcasing movies from the region alongside standout productions from prominent international filmmakers.[74] The first festival debuted with 152 movies and 186 screenings shown in five Abu Dhabi venues. A total of 76 feature films and 34 short films from over 35 countries competed for the Black Pearl Awards.
TheDoha Tribeca Film Festival (DTFF) was an annual five-dayfilm festival founded in 2009 to promoteArab and international film, and to develop a sustainablefilm industry inQatar.[75] The Festival was one of Qatar's largest entertainment events attracting over 50,000 guests in 2010.[76]
DTFF was the annual film festival of theDoha Film Institute, an organisation founded byH.E. Sheikha Al Mayassa bint Hamad bin Khalifa Al-Thani[77] which implements, consolidates and oversees film initiatives in Qatar.
The 3rd annual DTFF was scheduled to take place from 25 to 29 October 2011 at Katara Cultural Village,Doha. Approximately 40 films were to be screened at the festival, within various themed sections, showcasing World and Middle Eastern Cinema.[78]
In conjunction with the European Audiovisual Entrepreneurs (EAVE) professional training, networking and project development organization, theDubai International Film Festival in 2010 also began offering to filmmakers the Interchange group of development and co-production workshops earmarked for directors, screenwriters and producers from the larger Arab region.[79]
In 2011, theAbu Dhabi Film Festival launched the SANAD development and post-production fund for cineastes from the Arab world. With the goal of encouraging independent andauteur-based cinema, eligible filmmakers now have access to financial grants, screenwriting and pitch workshops, and personal meetings with industry mentors and experts.[80]
In the 21st century, many Arab filmmakers and cultural commentators are concerned about the current state and production of the Arab cinema. In November 2000, Arab filmmakers from eleven different countries across theMiddle East held a meeting to further address this issue and discuss the future of the Arab cinema, as they are of the opinion that Arab cinema has been declining in popularity and quality. In fact, during the meeting, many of the directors, including theOmani,Kuwaiti,Emirati andSaudi participants believed there wasn't any film industry in their country to talk about.[51] According to theIraqi director, the film industry in his country has been suffering since the 1990s.[51] The Palestinian filmmaker,Elia Suleiman, said that there are no interesting Arab films to watch any more.[51]
Moreover, evenEgypt, 'the Hollywood of the Arab world' is declining and is unable to compete withHollywood cinema and the American imported films.[51] As, "the number of domestic productions has dramatically shriveled – from over sixty films a year in the 1960s to a little over a dozen a year today – and even those are being pushed out of theaters by the American imports".[51] One of the solutions, which the Egyptian filmmaker and director ofEl Medina,Yousry Nasrallah, came up with, is to establish a cinema for screening only Arab films, and he also ensures that there are people who are willing to invest in his project.[51] One of the potential reasons for the decline in the production of the Arab cinema is due to the political conflicts.[51] For example, thePalestinian cinema was introduced in 1976 and has always dealt with politics.[51] Many of the films produced were documentaries about wars and refugee camps.[51] Moreover, filmmakers across theMiddle East such asRashid Masharawi,Ali Nassar and many others began to also develop films on thePalestinian and Israeli conflict.[51]
According to Nana Asfour, the decline of the Arab cinema in the 2000s was partially due to the great restrictions and censorship the Arabs put on directors who produce challenging films such asZiad Doueiri andRanda Chahal Sabbag and who travel to theWest to screen their films.[51] She concludes by saying that "If enough Arab filmmakers follow their [directors'] lead and if enough Arabs learn to appreciate and nurture their domestic talent, Arab cinema could very well find itself a worthy companion to the acclaimed film industry of neighboringIran."[51]
The Saudi horror movieThe Cello (2023), which was written byTurki Al-Sheikh, directed byDarren Bousman, and starsJeremy Irons andTobin Bell, as well as Elham Ali andSamer Ismail, is regarded as the first Arabic international horror film.[81]
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