Cairo International Film Festival Essay
The golden age of Egyptian cinema survived the fall of the monarchy, the departure of the British, the nationalization of the Suez Canal, and three wars with Israel — but not Cold War-era capitalism.
“Golden age” in this context is of course an amorphous term, but it does point to a palpable phenomenon which, in the form of roll film, remains testable for efficacy. Over roughly three decades from the beginning of 1940s to the end of the 1960s, a certain balance of quantity and quality was maintained. Art remained a meaningful business proposition even after capital was monopolized by the state and a centralized economy established.
Nymphomaniac’s Message for the Arab Spring
As an Arab you’re probably expecting me to lay into Nymphomaniac. It’s a film that must seem, if not offensive to my cultural sensibility, then irritatingly irrelevant to the poverty, underdevelopment, and upheaval that surround my life.
In most cases dropping the word “white” in the same paragraph as “Islam’s respect for women” is all it would take to slam Lars von Trier in this context. It would be a politically correct slur, too. I could even draw on Edward Said’s hallowed legacy to point out that the only time non-Europeans appear in over four hours of action, they’re portrayed as dumb sex tools. Not only self-indulgent and obscene but also Orientalist, etc..
But the truth is I actively delighted in Nymphomaniac, and I didn’t have to stop being an Arab for that to happen. To be accurate I should say I would’ve welcomed a von Trier film anyway, but this one showed up when it was needed—and it duly exploded on arrival.