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The Daily Star - Egypt - December 10, 2006
Festival improves but awards leave a lot
to be desired
Critic bashes Arab films as “plainly rubbish” Cairo: The 30th Cairo International Film Festival had its ups and downs, but if we sidestep what could be considered controversial judging, this year’s cinematic extravaganza was a remarkable improvement on yesteryear. However, as predicted, Egyptian films, apart from the award winner "Qass We Lazq" (Cut and Paste), were not up to standard. Syrian critic Rafiq El-Sabban put it best when he said Arabic films were "plainly rubbish" and "the only two good films are the ones that deserved to win." El-Sabban said that the musical "Mafeesh Gheir Keda" (None But That) was different and amusing yet the film had a small production for a musical and "didn't provide the audience with the sweet visual taste of such a genre." Emad El-Bahhat's feature debut "Istughomaya" (Hide and Seek), although a good effort and an indication of a promising career for its director, was still a bad film. El-Sabban also criticized the somewhat overzealous decision to award the Chinese film "The Road" three prizes especially for the Special Jury Mention which he believes should have gone to Egyptian actor Khaled Abol Naga's performance in "Civic Duty." "The Road," an excellent film in its own merits, was topped by other films in the competition. El-Sabban, along with many other critics, considered the Brazilian film "Zuzu Angel" as the lawful, robbed winner of the Golden Pyramid. The film, predicted by many to win best film and actress, left the festival empty handed. Argentinean film "La Velocidad Funda el Olvido"(Velocity Begets Oblivion), considered by critics and The Daily Star Egypt to be the best film in the festival, was only given the best actor award, while "La Ultima Mirada" (The Last Gaze), another favorite for The Daily Star Egypt, left with only the International Critics award. The choices for the Silver Pyramid and Direction were particularly infuriating. El-Sabban stated that the Silver Pyramid winner "Sankara" from Sri Lanka didn't deserve to win and that the award should've been given to any of the much superior Latin American films. He also said the Best Director award for the Iranian film "Jayee Dar Dour-Dasti" (Somewhere Too Far), a forgettable senseless melodrama that represents only a pale shadow of other superior Iranian films, was absurd since the film was upstaged by at least five films in the competition. "The basic notion of awarding a film is directly proportional to the tastes of the jury members, their cultural backgrounds and their political and social ideologies," explained film critic Khayriya El-Bishlawy. Yet, it is difficult not to commend all the improvements that took place this year. Ezzat Abu Ouf, festival president, proved that with more experience and confidence he has the potential to turn the Cairo fest into the international cultural event Marrakech and Dubai are becoming. Organization was a major improvement over the last three or four years. Press conferences and screenings were held on time, discussions were, most of the time, civilized and controlled and the opening ceremony was excellent. And although Egyptian celebrities rarely showed up during the proceedings of the festivals, except at the few gala dinners, it was Egyptian businessman Naguib Sawiris that pulled the festival from its slump. His contribution in publicizing the event and the touch of glamour he stamped on every aspect of the festival, apart from the artistic one, is clear and undeniable. The absence of any high-profile films, except for "Paris, Je T'aime" (Paris I Love You) and "Indigènes" (Days of Glory) was both a blessing and a curse. On the on one hand, it gave more room for the smaller, lesser known films to shine. On another hand, and despite the considerable commercial success the festival enjoyed this year, the selection denied many film lovers a rare opportunity to watch the latest art blockbusters from Europe which would likely have attracted more audiences. All things considered, the festival was a success, both artistically and commercially. The problem that remains unsolved is the global publicity for the festival. What the festival needs now is not the films; it needs the media outlets
and the major celebrities to boost its image and essentially compete
with both the giant festivals and the emerging ones. Chinese film defies critics and wins the
Golden Pyramid Egyptian film "Cut& Paste" is another big winner at the 30th Cairo Film Festival CAIRO: Chinese film "The Road," came out the clear winner at the 30th Cairo International Film Festival, taking home two prizes and the Jury's Special Mention in a lackluster closing ceremony Friday. The tearjerker, following the story of a sacrificing woman set against the backdrop of political developments in China over the course of 40 years, received the Golden Pyramid for best film and received the Best Actress Prize for Zhang Jingchu and a Special Mention from the Jury for actor Fan Wei. The Chinese victory marked a successful round for the festival with a simple, low-key ceremony that polarized some critics with its modest quality and the jury's choice of winners. Even the group of young Egyptian artists who presented the awards, including Menna Shalaby and Dalia El-Beheiry couldn't add much zest to the event. The ceremony started with a small feature that chronicled highlights of this year's festival followed by a short speech by festival president Ezzat Abu Ouf who appeared exhausted. Abu Ouf, along with honorary president Omar Sherif, gave away the awards at the star studded Opera House main hall. The debonair star of such classics as “Dr. Zhivago” and “Lawrence of Arabia” easily stole the show as he gracefully glided on stage in the spirit of a 20-year-old. The other big winner of the night was Egyptian director Hala Khalil's sophomore effort "Qass We Lazq" (Cut and Paste) that won the Naguib Mafouz Prize, awarded for best first or second work for a director. The film that follows the aspirations and disappointments of young Egyptians also shared the Best Arabic Film Prize, a LE 100,000 check presented by the ministry of culture, with the Algerian "Barakat”. Directed by Djamila Sahrouai, "Barakat" is an intense Drama about a physician searching for a kidnapped soldier in war-torn 1990s Algeria. The Silver Pyramid, the Special Jury Prize for best film, went to the Sri Lankan film "Sankara," about a Buddhist monk battling between desire and morality. The best actor award went to the young Argentinean actor Nicholás Mateo for his role in "La Velocidad Funda el Olvido" (Speed Begets Oblivion). The film, identified by some critics as the best film in the festival, tells the story of a young man's journey to find his mother, erase his old memories and start a brand new life. Iranian Director Khosro Masoumi won the Best Director award for directing "Jayee Dar Dour-Dasti" (Somewhere Too Far) about the tribulations facing a young man trying to marry the daughter of a woodcutting mobster. The Hungarian film "A Het Nyolcadik Napja" (The Eighth Day of the Week) won the Saad El Din Wahba Prize for best script. The film tells the story of a 70-year-old newly homeless retired ballerina who finds love in a relationship that resurrects her life. The International Critics Jury (FIPRESCI) prize went to the Mexican film "La Ultima Mirada" (The Last Gaze) about the two parallel lives of a painter on the verge of losing his sight and a young girl attempting to escape her life as a maid working in a brothel. The best artistic contribution for cinematography, editing, music composition and art direction were all, unlike previous years, presented in the shape of one award to the Indian film "Omkara," a Bollywood adaptation of Shakespeare's Othello. The Italian "Sotto La Stessa Luna" (Beneath the Same Moon) took home the first prize of the digital feature lengths films competition, which inaugurated the awards ceremony. The second prize went to the British film "Everything."
The films which should win at the Cairo
film fest
CAIRO: After 10 days, more than 70 films, various heated press conferences and one strange seminar, the festival has finally come to an end with the little matter of the awards still to be announced. Throughout the history of the festival, a certain number of criteria have always guided different juries to choose the Golden Pyramid winner. Political significance and relevance to both the jury members and Egyptian politics in general has always been the primary incentive for granting the award. The ‘humanistic value’ of the film, or, in other words, its tearjerker potential, is another major seminal factor. And then there's the occasional 'Thank You' nod to Egypt by giving a major or a minor award to the host nation. After interviewing an array of critics and different festival experts, The Daily Star Egypt compiled a list of films that would most probably end up raking the awards of the 30th Cairo International Film Festival. The clear winner for the Golden Pyramid is the Brazilian film "Zuzu Angel" which received its fair share of acclaim. All critics have singled out "Zuzu" before the festival even started and the reasons are clear: the film has a political message in its core, a true story and a set of noble emotions and ideas. In addition, it's the most watched non-Egyptian film in the competition. The Special Jury Prize, also called the Silver Pyramid, should be awarded to the Argentinean film "La Velocidad Funda el Olvido" (Speed Begets Oblivion). "'Speed' has been regarded as the best film in the festival, but it's a challenging film that needs a little patience and an understanding for its high cinematic value," a critic affiliated with the festival told The Daily Star Egypt. He added: "But the head of the jury is Argentinean and that might oblige other jury members to acknowledge its merits and win the Silver Pyramid." The Saad El Din Wahba Prize for best script is a sure bet for Hala Khalil's "Cut and Paste." The film is inarguably the best of the three Egyptian films participating in the main competition. As for best director, our hat is tipped in favor of Argentinean Marcelo Schapces. Another festival affiliated critic told The Daily Star Egypt that "if 'Speed' fails to win the Golden or Silver pyramid, it'll at least win best direction." Schapces's direction has won him unanimous commendation from even the fiercest dictators of the film. [.....]
The Daily Star - Egypt Traducción Festival
improves but awards leave a lot to be desired La película argentina "La Velocidad Funda el Olvido" (Velocity Begets Oblivion), considerada por los críticos y el The Daily Star Egypt como el mejor largometraje del festival sólo recibió el premio a Mejor Actor, en tanto "La Ultima Mirada" (The Last Gaze), otra favorita del The Daily Star Egypt, se fue solamente con el Premio de la Crítica Internacional. Chinese
film defies critics and wins the Golden Pyramid El premio al Mejor Actor fue otorgado al joven actor argentino Nicholás Mateo por su papel en "La Velocidad Funda el Olvido" (Speed Begets Oblivion). La película, considerada por algunos críticos como la mejor del Festival, narra la historia de la travesía de un muchacho en busca de su madre, tratando de borrar viejos recuerdos y comenzar una nueva vida. The
films which should win at the Cairo film fest El Premio Especial del Jurado, también llamado Pirámide de Plata, debería otorgarse al film argentino "La Velocidad Funda el Olvido" (Speed Begets Oblivion). “Velocidad” ha sido considerado la mejor película del festival, pero “no es una obra sencilla y requiere de cierta paciencia y comprensión para apreciar su gran valor cinematográfico” comentó un crítico participante del Festival al The Daily Star Egypt. Y agregó: "Pero el presidente del Jurado es argentino y puede que eso obligue a los otros miembros del jurado a reconocer sus méritos y darle la Pirámide de Plata”. ….. En cuanto al Mejor Director, nuestro voto es a favor del argentino Marcelo Schapces. Otro crítico del Festival dijo al The Daily Star Egypt que "si 'Velocidad' no gana la Pirámide de Oro o de Plata, debería recibir al menos el premio a Mejor Dirección." El trabajo de dirección de Schapces ha recibido elogios unánimes por parte de inclusive los más exigentes dictadores del cine.
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