Egyptian singer and actor Khaled Selim will give a concert at the Bibliotheca Alexandrina on Monday 19 August as part of the 17th International Summer Festival at the Bibliotheca. The concert is being held three days after another appearance by the pop artist at the Damanhour Opera House on Friday. Born in Kuwait but currently living in Egypt, the 43-year-old Selim, who gained his fame with Eish (Live), the theme song of El-Sellem W El-Te ban almost two decades ago, has produced several popular albums in addition to starring in various films and TV series. Organised by the Bibliotheca Alexandrina s Art Center, the festival includes a variety of art activities like music concerts, theatre plays, film screenings, poetry, and stand-up comedy, in addition to a series of workshops and lectures on various aspects of art.

The 10th edition of the Beirut Art Fair (BAF) will be held 18-22 September under the patronage of Prime Minister Saad Al-Hariri, announced Laure d Hauteville, the BAF s founder and director. D Hauteville together with Joanna Abou Sleiman-Chevalier, artistic director for the BAF, Marie-Mathilde Gannat, VIP coordinator, and Marie Tomb, editorial director, unveiled the fair s programme during a press conference recently held in Beirut. A revealing event in the Middle East, the BAF acts as a catalyst for the artistic and cultural life for Lebanon. D Hauteville reaffirmed the fair s commitment to the discovery of the contemporary art scene, both regional and international. The event also wishes, for this anniversary, to pay tribute to Lebanon through exhibitions of exceptional works from Lebanese private collections. Lynn Tehini, representing Mohammad Daoud, Lebanon s minister of culture, said that “The BAF enjoys a great prestige and is considered a significant event for the cultural, touristic and economic scene of the country. The fair is one of the pillars of the promotion of Lebanon on the international scene of contemporary art. The ministry actively supports BAF and we are proud to celebrate together its tenth anniversary.” D Hauteville reiterated her commitment to promoting openness to innovation by relying on a reinvigoration of artistic programmes and setting new trends. She reaffirmed the core values of the fair: freedom of expression, dialogue of cultures and tolerance. "BAF remains more than ever committed to breaking not only artistic walls, but also interpersonal, psychological and social ones. The fair will present various artistic experiences in parallel with what the galleries stand for — a spirit of openness and innovation." With 50 renowned Lebanese and international galleries showcasing emerging artists alongside recognised talents, BAF confirms its image as a cultural incubator. Coming from 18 countries, it will reflect the rising scene of regional and international contemporary art. Abou Sleiman-Chevalier explained that “The BAF is devoted to discovering the young contemporary art scene, and rediscovering artists whose work might unfairly be less acknowledged. It is this curatorial direction that gives meaning to the fair. This year, the fair will be more contemporary than ever. We are very pleased to present a number of promising young galleries, some of which have been operating for less than a year. We do not focus on a specific region, since the fair is truly part of a global interconnected scene." The BAF relies on a selection committee comprising important figures of the international art scene: Olivia Bourrat, scientific director of Agence France-Muséums, Jean-Marc Decrop, specialised expert in contemporary Chinese and Middle Eastern art, Tamara Inja Jaber, artistic advisor to major collectors and Arab governmental institutions, and Lyne Sneige, arts and culture director at the Middle East Institute (MEI) in Washington, DC. On the occasion of the 10 year anniversary of BAF, the organisers invited Rachel Dedman to curate an exhibition. She has selected 10 promising artists from the MENA region following an open call to which more than 400 candidates responded. In addition, the exhibition "Unexpected Trove: The Unseen Works of Hussein Madi" will present a series of paintings from the collection Mazen and Loulia Soueid, which has never been exhibited, including rare landscapes by the renowned Lebanese artist Madi (b. 1938). Painted between 1965 and 1970 during his early years in Rome, the collection, representing a significant phase in the artist s career, was presumed lost for almost 40 years and only recently rediscovered. Curated by Abed Al-Kadiri, the exhibition is taking place under the patronage of the Italian Embassy in Lebanon, and is produced in collaboration with Christie s. "A Tribute to Lebanon" is the title of another inspiring exhibition that explores Western creations inspired by Lebanon from the 18th century to the present day, through works and historical objects from the eclectic and fascinating collection of Philippe Jabre. Gaby Daher, exhibition curator and collector, said: “The exhibition is a journey through time and space. It will invite visitors to discover the image of Lebanon filtered through the Western eye. It will unveil more than 100 exceptional works of art and artifacts, including automata, dolls, photographic albums, historic Orientalist paintings and rare pieces by major 20th century artists, including Andy Warhol, David Hockney, AR Penck, and photographs by Don McCullin taken during the war in Lebanon in the 1980s." Marie-Mathilde Gannat, BAF VIP coordinator, added that “Many museums, private collections and Lebanese foundations will open their doors to VIPs for extraordinary and confidential visits, including the Sursock Museum, Beirut Art Centre, Dar El-Nimer, the MACAM museum, and the art galleries of the American University in Beirut. Important private collections, such as the Ramzi and Saeda Dalloul Foundation, Nadim Karam s A.MUSE.UM, and Philippe Jabre, will also welcome VIPs. These artistic excursions will be punctuated with convivial moments, dinners and unforgettable evenings which characterise the Land of the Cedars." The five-day fair will offer multiple opportunities for cultural exchange with a rich programme of conferences and roundtables on modern and contemporary art, with a focus on the MENA region. Among topics will be the role of cultural institutions, the factors that shape art and the artist, and the question of "Arabity." The fair s satellite event, BeirutArtWeek (17-24 September 2019), electrifies the Lebanese capital by offering a journey to new experiences throughout the city. From an ephemeral exhibition in a building marked by the war, to a Cuban evening in an abandoned factory, to intimate get-togethers in palaces evoking 1,001 Nights, this series of events mixes contemporary art, dance, and traditional music in atypical places, highlighting the architectural and cultural heritage of the city. Children are equally encouraged to join the festival of colours. The Beirut Museum of Art offers children visiting BAF several workshops led by artists Chantale Fahmi, Soraya Gezelbash and Galeb Hawila.

Amr Diab will perform in the north coast city of New Alamein on Friday, August 16, for the first time. The concert will take place in the Music Arena at al-Masa Complex. The Music Arena can accommodate more than 20,000 spectators and offers the latest equipment. A theater has been prepared with special specifications for this extraordinary event, including the grades VIP, VVIP, and “Lounges.” As Diab prepared for the concert, he announced it on his official social networking pages. He will launch the latest songs of his new album “Ana Gheir” at the concert in addition to a number of his most famous songs. The concert is expected to see a very high turnout from people of all ages. Diab is one of the most famous singers in Egypt and the Middle East. Nicknamed “al-Hadaba” (The Plateau), the superstar has had a long-spanning career that began with his first musical creations in 1983. Over the past three and a half decades, Diab has successfully remained one of Egypt s and the Middle East s top singers, winning awards and selling records. In 2009, Diab won four 2009 African Music Awards for Best Artist, Best Album, Best Vocalist and Best Song for “Wayah”. He is also the only Middle Eastern artist to have received seven World Music Awards.

The Egyptian Musicians Syndicate put into force on Sunday the decision to stop dealing with pop singers who sing in the streets and on YouTube without licenses from the syndicate. Head of the syndicate Hani Shaker said that the syndicate will cooperate with the Central Authority for the Censorship of Works of Art to deal with singers at pop festivals. Shaker added that the syndicate “awaits the role of the country in combating artistic corruption and decay,” and asserted that the syndicate works to present fine artworks to rebuild the capacities of the Egyptian youth. Syndicate member Alaa Salama clarified that police stopped concerts by pop singers Shawaha, Kozbara and Hangara, Magdi Shata and Hamo Beka during Eid al-Adha. The syndicate s decision asked all art bodies to stop dealing with pop singers Hamo Beka, Magdi Shata, Kozbara, Hangara, Sawarekh team, Afaret, Osaba (gang), Basla, el-Zaeim, Weza Matarya, Amro Haha, al-Deizel, Alaa Fifty, al-Kaab al-Aali, Shawaha, Abu Lela, and Andrew al-Henawi because these artists are not licensed by the syndicate. Pop singer Hangara commented on the decision, saying that the dual pop team Kozbara we Hangara is not ashamed of presenting pop songs and that they started to sing in 2009, presenting the accreditation papers to the syndicate.

Folklorama, the largest and longest-running multicultural festival dedicated to the international folkloric arts, runs between 4 and 17 August in Winnipeg, Manitoba province, Canada Now in its 50th edition, the Folklorama Festival, the world s oldest fest dedicated to folkloric arts, saw the participation of an Egyptian folkloric troupe with its own pavilion for the first time. The annual two-week event, this year taking place from 4 to 17 August is held in Winnipeg, Canada, with 50 international pavilions. Egypt s was located in the University of Manitoba, having showcased its rich folkloric art throughout the first week of the festival. "Welcome to Egypt: Crossroads of Civilisations," states Folklorama s website presenting Egypt s participation. "After more than 5,000 years of Egyptian history, its pavilion finally arrives to Folklorama this year for the first time." The Egyptian pavilion featured Mohamed El-Sayed, a Cairo-born dancer and percussionist specialising in Sufi whirling, in addition to belly dancers. The pavilion also held sessions where attendees could have their names written in hieroglyphic, as well as cooking gatherings in the evening to introduce visitors to Egyptian and Oriental culinary delights such as fuul medammes, koshari, and konafa. Egypt s shows were performed thrice daily from 4 to 10 August. The Egyptian pavilion was organised by Winnipeg s Egyptian community, whose 5,000 members had enthusiastically embraced the concept of the pavilion, according to Hala Salama, the pavilion s coordinator. Folklorama was launched in 1970 marking Manitoba s centennial, and over the past decades it has grown to become an annual two-week long festival dedicated to the folkloric arts from all around the world. Folkloric groups from Central America, Europe, Asia, and Africa participated in the fest, with each country exhibiting its cultural and folkloric spirit for an entire week.

The revenues from Welad Rizk (Sons of Rizk) Part 2 by film director Tarek Alarian totaled LE4,089,172 million on Saturday, standing as the highest-earning Egyptian movie, followed by El Feel El Azraq (The Blue Elephant) Part 2, which earned LE1,806,049 million in revenues, said the Egyptian film production company Dollar Film. Welad Rizq Part 2 stars Ahmed Ezz, Amr Youssef, Ahmed Dawood, Ahmed El Fishawi, Mohammed Mamdouh, Karim Qasim and Khaled El Sawi. El Kenz (The Treasure) Part 2 by film director Sherif Arfa came in third place after earning LE212,904, followed by Enta Habiby w Bas (You Are My Only Lover), which earned LE72,675. El Feel El Azraq Part 2 stars Karim Abdel Aziz, Nelly Karim, Hind Sabri, Iyad Nassar, Khaled El Sawy, and Sherine Reda.

To talk of colours as an emotional force is arguably to talk of pastel. The history of pastel in Europe dates back to the 16th century though it did not gain popularity until the 18th. This unique way of painting went in and out of vogue, witnessing its most recent heyday at the hands of Edgar Degas (1834-1917), whose death marked its relative fall from grace. In 20th-century Egypt only a handful of artists – notably Mohamed Sabri – used the medium with any success. In 20 years of regular gallery going, I have seldom seen a single exhibition dedicated to pastel. Halla El Shafei s initiative is therefore all the more remarkable. Recognised by the International Pastel Journal in 2016 as one of the top 10 pastel artists worldwide, El Shafei s work has garnered much attention; an abstract piece was selected by the jury at the Annual Pastel Society Exhibition in England inn 2013. Her colours flow with such energy and spontaneity it is as if she is using her own emotions to paint. I visited El Shafei at her beautiful house, a treasure trove of eclectic art. Her passion for art started early, she told me, partly because she grew up in an art-loving atmosphere: “My father, a famous economist, used to help me do my art projects and buy me colouring books, while my mother was keen on decorating our home with colourful things, and music was an essential part of our daily schedule. We travelled a lot, and I went to a lot of museums and galleries when we did.” Yet she did not think of becoming an artist herself. A 1987 economics graduate of the American University in Cairo, El Shafei led a successful career in finance, eventually working for UN organisations. “For 20 years I had a disconnect with art. I was developing my career, then I got married and had a son. I don t know how I lived without art. The turning point in my life was when I turned 40. I was celebrating with some old friends from school and I suggested that we should do something different that year. So I started taking courses in photography, pottery and drawing. It was when I started studying with the late artist Maged El Segeny, the son of the pioneering artist Gamal El Segeny, that I was hooked. I learned from scratch, then I realised that I was building my new, original career. “It took me four years to master every branch and method of colouring and drawing, and I was still working part-time in the economic field. Another encouraging event took place in 2010, when I took part in a pastel exhibition in London, and my pastel drawings were warmly appreciated by many friends who encouraged me to start working on my first solo exhibition. A month before the 2011 Revolution, I decided to dedicate my time fully to pastel. I did a lot of research and experimentation, and studied international journals of pastel, used different types of pastel colours in order to master the medium.” Triggered by an appreciation of nature, even El Shafei s work is rich in intimations of flowers and landscape. “Abstraction is the most difficult genre of art, it is based on the artist s memories, and the their ability to analyse and simplify figures and items. Abstract art is based on composition, how to use different tones, different strokes. Colours are very significant for me because they carry different emotions. The spectrum is endless. The trick is how to blend them and make music out of their diversity. It is very challenging. I chose pastel because I am a colourist in the first place. I breathe colour. “Colouring is a gift. I was brought up to believe in the power of colours. However, not all artists are colourists. Colors is a language, and pastel is one of its harder tools. You can learn how to draw or paint, but colouring is definitely a gift. Soft Pastel is made of the purest pigments in the world. This explains its richness and luminosity, and why its impact is incomparable. The special thing about pastel is that it is a medium for both drawing and painting medium, it requires no brush, so it gives the artist tremendous intimacy and freedom.” Her first solo exhibition, “Loving Pastel”, was held at Al-Bab Hall, Opera House grounds, in 2012. It included 60 works, all in pastel, which dealt conceptually with women s issues as well as nature. In 2015 she gave two exhibitions that reflected her thoughts on storytelling and experiments in abstraction that led to the present abstract work. There are very few abstract paintings in pastel in the world at large. But she might not stay in her abstract phase forever. “Artists are free to go back and forth,” she says. “Of course I can revisit my old phases, but with a new spirit.” In these recent paintings, there are hardly any traces of the human face. She is more interested in the soul, not the material form of the subject. Her confident yet sensitive strokes form lines and spaces that merge in chart-like compositions. Especially since winning international awards, El Shafei is not too concerned about the lack of popularity of pastel, of which she is such a champion she teaches it online. “One lesson I learned about art is that you just draw what you love. There is no way you can be dictated to by market forces or fads. Luckily, there is a growing audience in Egypt and a flourishing market worldwide for pastel. The problem in the 21st century is that we are bombarded by millions of pictures through social media. This is why I challenge myself every day. I want to make images that have never been seen. I want to leave the viewers with a space to meditate. My dream is to establish a pastel society in Egypt to promote pastel as a medium, and recognise the fact that it was part of Egyptian art history since the 1920s.”

Egypt s Minister of Antiquities Khaled al-Anani on Tuesday inspected the development and restoration of the Royal Vehicles Museum in Cairo, ahead of the museum s opening in December. The head of the project sector at the Ministry of Antiquities Waad Abu al-Ela said that the project began in 2001 but was suspended for several times before resuming in 2017, asserting that 80 percent of the project has now been completed. Abu al-Ela clarified that the project included rehabilitation of the museum s building, renovation of the facades, completion of architectural finishes, preparation for the exhibition halls, installation of the latest lighting systems, fire extinguishers , insurance and burglar alarms. It also includes preparations for the restoration lab equipped with the latest scientific equipment, the allocation of a visual exhibition hall to display documentaries on the royal vehicles, especially of the Alawite family, the establishment of a cafeteria and an elevator for people with special needs. Assistant to the Minister for Museums Affairs Nevin Nizar said that the museum has allocated five exhibition halls to showcase unique vehicles and other accessories including carts donated to the Alawite family, and a vehicle donated by French Empress Eugénie de Montijo to Khedive Ismail for the opening of the Suez Canal. The Royal Vehicles Museum was first established during the reign of Khedive Ismail, with the museum being modified during the reign of King Fouad.

Out of a belief in the need to connect new generations to their history and instill within them a love for ancient Egyptian civilization, the Ministry of Antiquities and Egypt s Society for Culture and Development have jointly opened hieroglyphics courses for children at affiliated libraries. Cooperation was initiated between the Department of Cultural Development of the Ministry of Antiquities and the libraries affiliated with Egypt s Society for Culture and Development last year. The introductory courses taught to children include Egyptian heritage and sports throughout the ages as well as hieroglyphics. The initiative is generally aimed at children aged between 7 and 15 years old, said Rasha Esmat, head of the programs department at Egypt s Society for Culture and Development. The program opened at eight libraries in July. Classes also opened at the Society s Cultural Center in the Ard al-Golf area, according to Esmat. She added that the program will continue until the end of August. Due to the young age of participants, instructors Sherif Shaaban and Mona Gharib were keen to simplify the content of the courses. Children were taught to write their names in hieroglyphics. Course sessions start at 11 am and end at 1:30 pm, she said. Esmat thanked Rasha Kamal, Director of the Department of Cultural Development, who she says played a major role in pushing the idea of the course further as part of the ministry s initiatives to spread historical awareness among young generations.

The head of the Projects Sector at Egypt s Antiquities Ministry, Waad Abul-Ela announced that the Sharm el-Sheikh Museum will be inaugurated at the beginning of the next year, at a total cost of LE1.2 billion for both the first and second phases. Al-Borsa newspaper reported Abul-Ela saying on Monday that the cost of the first phase of the project is LE600 million, 80 percent of which has been completed. Abul-Ela expected the first stage to be completed during the next few days, with the second phase being completed at a cost of LE600 million by the end of this year. The first phase of the project includes an administrative building and four exhibition halls dedicated to antiquities, with a large corridor connecting these halls. The passage will feature the statue of the goddess Hathor and other artifacts. Abul-Ela said that that project is being constructed by the National Contracting Company and is being carried out according to a specific timetable. Egypt s Antiquities Ministry aims to create a new tourist product for the city of Sharm el-Sheikh, as well as for historical and archaeological tourism. The hotel capacity operating in Sharm el-Sheikh is about 33,000 rooms, out of a total of 65,000 in South Sinai governorate. The project s manager Emad al-Fadhly said that the area of the museum is about 220,000 square meters, of which 15,000 meters are green spaces and walks, and that work for the first phase has been completed in full. He added that the museum also includes a giant fountain, a place for concerts, staff accommodation, as well as a special garage for tourist buses and private cars. The project initially started in 2011, but suffered from a lack of funds available by the ministry, and was finally resumed again at the beginning of last year.

Whether or not they have a dramatic-artistic justification, sequels always capitalise on the commercial prospects of the original movie. Five years ago Al-Fil Al-Azraq (The Blue Elephant) grossed LE8 million in the first week of its release. Its sequel, released last Thursday, made over LE4 million on its first two days of screening. It is the fourth collaboration between filmmaker Marawan Hamed and novelist Ahmed Mourad, after The Blue Elephant (2014), Al-Asleyeen (The Originals, 2017) and Torab Al-Mas (Diamond Dust, 2018). Hamed s ninth long fiction film since his 2006 debut Emaret Yacoubian (Yacoubian Building), based on Alaa Al-Aswani s novel and written by his father the celebrated screenwriter Wahid Hamed. It is clear that Marawan Hamed has been planning his career very carefully. Though it appeared to be a new genre in Egyptian cinema, as a horror-thriller The Blue Elephant was in fact preceded by such films as Youssef Wahbi s Safeer Gohannam (The Ambassador of Hell, 1945) and several 1980s films such as Mohamed Radi s Al-Ens wal Jinn (Humans and Jinns, 1985) and Mohammed Shebl s Al-Ta awidha (The Talisman, 1987) that nonetheless suffered from weak visual effects and overacting. The Blue Elephant 2 opens at the Abbasiya Mental Health Hospital in the homicide section, “8 West”. A new murderer named Farida (Hend Sabry) who killed her husband and her child is being held in that section. She won t speak to anyone but Dr Yahia Rashed, who left the hospital five years ago. The second sequence in the film is exactly like the first Blue Elephant. The main character, psychiatrist Yahia Rashed (Karim Abdel-Aziz), is sleeping in a chair in a balcony in front of the Nile in daylight, then he wakes up. The camera trails him as he enters the room, where we realise he had been drinking whisky when he passed out in his seat at the bar. This reminds the viewer of the protagonist s personality: a careless heavy drinker and smoker who gives in to the temptation of evil. These details were very important in building the characteristics of Yahia in the first film, paving the road to his use of a new drug called the Blue Elephant. A DMT (Dimethyltryptamine) pill, this is a hallucinogen much more powerful than LSD (as Maya, the girlfriend who gives it to him, explains) and it ushers him through the rabbit hole back in time to the era of the Mamelukes where he discovers the demon Nael, who is behind the murder his friend Sherif Al-Kordy (Khaled Al-Sawy) was framed for. In the new film Yahia is married to Lubna Al-Kordy (Nelly Karim), a relationship introduced in the first film. After receiving a call from the hospital Yahia meets with the new director of 8 West, Akram (Eyad Nassar), who graduated in Europe and is trying to apply modern methods in the land of superstition and hallucination. The plot in the first film was based on a smart game of questions between Sherif-Nael and Yahia, as the latter tries to help his old friend by solving the murder he is accused of committing while the demon Nael tries to manipulate him. Now we discover that Nael has returned in the body of Farida and is once again trying to take revenge on Yahia. The structure of the drama here is very similar to the structure of the plot of Yorgos Lanthimos The Killing of a Sacred Deer (2017). In both films the protagonist has fewer and fewer days before losing his family one by one. In the British film, the Greek filmmaker didn t care to explain the mysterious power of the young villain because he was more interested in the philosophical notion of choice, but inThe Blue Elephant 2 Hamed and Mourad find their explanation in the world of magic and demons. The script in the first film was full of detail in characterisation and action, which is more than can be said for the present offering, which glosses over such elements as the tattoo artist Dega or Khadiga (Sherin Reda), who used a tattoo on a the leg of Sherif s wife to summon a Jinn to make him desire her again and ended up with more than she had bargained for. The acting is moderate in both films, but Karim Abdel-Aziz is not as good in the second as he was in the first, perhaps due to the way the character is written. Hend Sabry s performance as the villain does not live up to those of Khaled Al-Sawy and Mohamed Mamdouh. Evidently inspired by David Lynch s Twin Peaks (1990-1992), Hamed had created a dream circus for Yahia to be in after taking the pill. This time his attempts at visual play are not as successful. All in all The Blue Elephant 2 is not a bad film but it is not on the same level as The Blue Elephant. In both films, Hisham Nazih s music — which mixes Sufi tradition and poetry with rock and Western melody — is among the most powerful elements

Sixth of October Prosecution in Giza decided on Thursday to close the investigation in the lawsuit known in media outlets as the “Rania Youssef dress case” because of the invalidity of the lawsuit s criminal proceedings. Youssef wore a black see-through outfit that fully exposed her legs to the closing ceremony of the 2018 Cairo International Film Festival on November 29. Cairo appeals prosecution ordered on December 6 the release of actress Rania Youssef on a personal guarantee following a four-hour interrogation session on charges of committing an obscene public act and inciting infidelity, immorality, and vice. Actors Syndicate Legal Representative Shaaban Saeed and Board Member Ayman Azab attended the interrogation session with Youssef. The actress told prosecutors that revealing the lower parts of her body was unintentional, as the lining of the dress went up without her noticing and none of her colleagues alerted her. Lawyers Amr Abdel Salam, Hamido Gameel al-Prince, Wahid al-Kilany and Samir Sabry backtracked on claims they had filed against Youssef over the dress following Youssef s apology to all Egyptian families for the incident. Youssef had been referred to a Cairo misdemeanor court regarding a claim filed by the lawyers for charges related to wearing the outfit. The lawyers claimed to the public prosecution after the ceremony that Youssef had committed “obscene public behavior” and “did not meet societal values” and therefore has undermined the reputation of the Egyptian people.

Egyptian-Tunisian actress Hend Sabry has become the first Arab woman to ever sit on the judging panel for the world s oldest film festival, the Venice Film Festival. The acclaimed actress revealed the big news on her official Instagram account: “I am proud to be one of the jury members of the Venice Film Festival and I also feel proud that veteran directors Emir Kustrica and Antoinette Liowill be the jury presidents.” Sabry said she hopes to be a good representative and ambassador for Arabs during her participation in one of the most important film festivals in the world. “I also am happy that this announcement coincides with the release of my movie The Blue Elephant 2 which achieved huge success across the Arab world,” she added. Sabry was previously elected as one of the jury board members for the twelfth edition of the Dubai International Film Festival, according to The Tunisian Monitor Online. The actress launched her acting career in 1994 with the Tunisian film “Samt al-Qosour” (The Silence of The Palaces) while her second Tunisian movie came with “The Season of Men” (2000), according to The National. Thriving in Egyptian cinema, Sabry starred in “Mozakrat Morahka” (The Diaries of a Teenager) alongside Egyptian actor Ahmed Ezz, directed by Inas al-Digheidy. Across her various roles in films such as “The Yacoubian building” (2006) and “Banat wist al-Balad” (2005), Sabry shone light on the pressures and issues that Arab women face, with one acclaimed example being her role in “Asmaa” (2011). Directed by Amr Salama, “Asmaa” tells the story of an Egyptian woman suffering with AIDS and the rejection she receives from society as a result. Sabry has earned several prestigious awards, such as the “Best Arabian Cinema Actor” award in 2012 in Murex D or, the “Faten Hamama Excellence Award” from the 2017 Cairo International Film Festival, amongst others.

Yehia Chahine wasn t just a passing name in the history of Egyptian thespianism and the Arab world. He was also one of the prominent figures on both stage and screen due to his serene performance throughout his roles. Yehia Chahine was born in 28 July 1917 in Miet Uqba, Giza Governorate when it was an island bordered by water on each side. In spite of this geographical hindrance, he enrolled in the Abdeen School in the heart of the capital, which is very distant from his home. His acting talents began to appear in his elementary education, and in the Industrial School. Ultimately, he received a high certificate in Applied Arts.

Egyptian Film Critics Association (EFCA) will screen director Amal Ramses You Come from Far Away at their headquarters downtown on Sunday 4 August. The screening of the 84-minute documentary will be followed by a seminar led by prominent Egyptian critic Safaa Elaisy. The film has gained critics appreciation in various cinema festivals winning many awards including two at the 21st edition of the Ismailia International Film Festival for Documentaries and Shorts last April; The Africa Cinematographers Critics Federation Committee Award and the FIPRESCI Award. The film tells the story of three Palestinian sisters from a Jewish mother who were separated to different countries, each speaking a different language, during the time of the Spanish Civil War (1936–1939) under dictator Francisco Franco. Ramses, who founded the Cairo International Women s Film Festival and the Between the Women Filmmakers Caravan, is leading an international women s workshop series entitled Correspondence Between Women, in addition to recent workshops for filmmaking.

The Cairo Court of Appeals has accepted the verdict of a first instance court on the school tuition case regarding the two children of Egyptian actors Ahmed Ezz and Zina, asking Ezz to pay £30,000 or LE700,000 school tuition a year. Ezz s lawyer Omar Abdel Rahman said that the verdict did not decrease the tuition payment requirement, clarifying that Ezz has been paying LE30,000 monthly expenses to his ex-wife Zina. Abdel asserted that he will appeal the verdict. Ezz filed an appeal before the Cairo Court of Appeals against the verdict of the first instance court in November 2018. The court determined that he should be charged £30,000 yearly for the tuition fees of his twins Ezzeddine and Zine El Dine. The verdict stated that the sum is based on Ezz s cinematic works and the size of his wealth, adding that the value of expenses are in foreign currency because the school attended by his children is an international school that accepts fees only in the stated foreign currency. Ezz denied fathering Zeina s two children before she filed a lawsuit against him and a court verdict determined him to be the father.

How are designers dealing with the soaring temperatures of the climate emergency? Ancient desert architecture, Bauhaus buildings or futuristic sustainable cities in Abu Dhabi: Intelligent solutions are already out there. Europe is currently struck by another heat wave. With temperatures soaring above 40 degrees Celsius (104 Fahrenheit), people are running out of conventional wisdom and little tricks to beat the heat. As global warming is not expected to slow down at the current rate of industrial activity, long-term solutions are desperately needed to address sweltering summers on the continent and beyond. Ned Cramer, editor-in-chief of Architect magazine goes as far as calling climate change primarily a "design problem" in an article dated October 2017. "The threat climate change poses is existential, and buildings are hugely complicit — even more so than that stock culprit, the automobile," he says, challenging architects and designers around the world to change the way we build homes, offices and entire cities to accommodate warmer temperatures. Thankfully, there is a long tradition using intelligent design to curb the impact that hot summers can have on human health and well-being — as well as on the planet. Plenty to learn from other cultures There is also plenty of ancient wisdom available to learn from. After all, hot temperatures aren t a new occurrence — they are only reaching areas that aren t used to them. People in desert nations have long adapted, finding ways to keep their lives as cool as possible way before the advent of electricity allowed them to even consider air conditioning. Cultures in the Far East have a long history of building houses on stilts, not only to protect their homes from flooding, but also to allow for a cooling mechanism from underneath. This has been copied in coastal areas of the US, especially in fishing communities along the Gulf of Mexico. In more recent history, urban centers in Europe have prepared for long, hot summers by incorporating courtyards and parks into their city planning. Among other design schools, Bauhaus architects incorporated some practical solutions to make their buildings cope with the climate more efficiently over the past century. Scroll through the gallery above to discover more of those solutions from the past, present and future to beat the heat.

The "Fridays for Future" protests have reinvigorated the debate on climate change around the world. An exhibition in Tel Aviv now shows how cities can use innovative technologies to limit the effects of global warming. Just a few days ago, the sizzling winds of the "sharav" desert storm swept across Tel Aviv, resulting in record temperatures throughout Israel of up to 50 degrees Celsius (120 Fahrenheit). With its air conditioning working on overtime, the Tel Aviv Museum of Art provides some convenient relief from the heat, where the latest exhibition "Solar Guerrilla: Constructive Responses to Climate Change" focuses exactly on what s happening outside: changing weather patterns and global warming. Upon entrance, the first thing you see is a wall covered in strips of colorful lines. This is not just any art installation: These lines meticulously document how the climate has actually changed around the world since the mid-19th century. Blue lines begin to turn orange and eventually reach dark red hues, referring not only to the climate in Israel but in other parts of the world as well. The average annual temperature of Germany, for example, shifted from 6.6 degrees Celsius (44 Fahrenheit) to 10.3 (50.5 Fahrenheit) during that period, according to the installation. The data used for this visualization comes from the World Meteorological Organization (WMO). However, the exhibition primarily hopes to highlight solutions to climate change and not just document its dangers. Climate change is real The colorful graphics of this installation are juxtaposed with another work, which documents climate change with layers of rock formations highlighting that over millions of years, the global climate has indeed repeatedly been subject to variation and change — but never over the span of a few decades, as is the case now. Climate expert Orli Ronen from Tel Aviv University, who joined the museum team as a consultant on the "Solar Guerrilla" exhibition, says that the show aims to convey two important messages: "One is that climate change is real, and has drastic consequences. And it s man-made. The other message is that we can still do something about it. We can no longer stop climate change but there are solutions to, at the very least, slow it down." Ways to respond to global warming The exhibition doesn t just document global warming but wants to highlight the efforts of those who are trying to prevent it. Another large collage at the entrance of the museum shows various climate activists fighting for change, featuring pictures of protesters with signs reading "We are drowning. We are fighting" and "Rise for climate." These are images from the "Fridays for Future" protests started by the young Swedish climate activist Greta Thunberg. The exhibition hits a nerve. "It s true, for once we re not just curators but also somehow activists, however, in a rather subdued manner," curator Maya Vinitsky told DW. "We re trying to use this exhibition as a way to show people how they respond (to climate change). There are many possibilities. Joining street demonstration is one of many ways." Technological solutions The exhibition highlights numerous solutions to combat global warming through technology, among them a little measuring tool for energy used in your household called "Sense." The device plugs into your electric panel at home and then tells you — via app — how much electricity is being used by each device in your home. That way, you can make more educated decisions on what devices might be worth unplugging and which ones you want to keep on stand-by all the time. Another such example is Watergen, a company that succeeded in creating a machine that turns humidity in the air into drinkable water. And there s the so-called PodCar, a little vehicle powered by a lithium phosphate battery which is recharged with solar energy. Abu Dhabi s Masdar City in the United Arab Emirates, which prides itself as being the "city of the future" for its ambitious plans to transform into a sustainable community free of fossil fuels, has been using the little cars since 2010. Many VIPs visiting Abu Dhabi have already ridden the little pod, including leaders like Indian Prime Minister Narendra Modi and German Chancellor Angela Merkel. Climate neutral designs The exhibition also looks at cities and municipalities that seek out innovative solutions to deal with climate change. It highlights the vertical gardens of Singapore, the rooftop tree yards of Chicago and the "Eco Wave Power" plant, which powers Tel Aviv itself by harnessing the energy of sea waves. Among other Israeli inventions and solution, the show also presents a new neighborhood being created in the north of Tel Aviv, designed to be completely climate neutral. Here, electricity will be harnessed by solar energy and room temperature will be controlled not by electricity but using a minuscule amount of natural gas. Architecture, design and city planning take center stage at the exhibition in general, which makes sense, as one of the main departments of the Tel Aviv Museum of Art actually focuses of architecture and design. "Let s be honest," says climate expert Orli Ronen, "We failed as scientists. Climate change should be the main talking point anywhere, in every café. But it isn t. But I m grateful for each and every attempt to mobilize people about climate change, and a museum is the kind of place where people are open to new ideas." "I think it will be impossible for anyone to see this show and not want to jump into action in some way."

The Egyptian-European Archaeological Mission of the European Institute for Underwater Archaeology concluded its archaeological season at the ruins of the ancient Greek cities Heraklieon and East Canopus in Abi Qir Bay, Alexandria. The mission had been operating for almost two months. Ehab Fahmy, head of the Central Department of Sunken Antiquities, said that the mission used the latest scanning devices to capture images of archaeological remains buried beneath the seabed. A group of buildings within Canopus were found, extending the explored parameters of the city to the south for a distance of a kilometer. The mission found: remains of a port and a collection of pottery from the Late Period of ancient Egypt; gold, bronze and other metal coins as well as jewelry from the Ptolemaic period; and gold coins from the Byzantine era, which showed that the city was likely to have been populated between the 4th century BC and the Islamic era, Fahmy said Monday. The mission found part of a completely destroyed temple in the ruins of Heraklieon, pottery vessels and tableware from the third and second centuries BC, bronze coins from the reign of King Ptolemy II, and fragments of columns found at a depth of three meters below the seabed. Minister of Antiquities Khaled al-Anani inspected the Grand Egyptian Museum project proceedings on Monday, also inspecting the transfer of the great sarcophagus of King Tutankhamun to the restoration lab affiliated with the Ministry as the ministry prepares for the sarcophagus restoration. The restoration process will be the first on the material since the discovery of King Tut s tomb in November 1922. The sarcophagus will be displayed beside King Tut s other coffins at the Grand Egyptian Museum after its inauguration in the fourth quarter of 2020. Anani also witnessed the transfer of ten pieces of wood from the King Khufu Ship during his visit to the Grand Egyptian Museum. The total number of wooden pieces transferred from the boat to the museum so far stands at 852 pieces.

Mena Massoud, the Egyptian-Canadian star of Disney s Aladdin (2019), is set to participate in the third edition of the El Gouna Film Festival (GFF) which will kick off September 19 and until September 27. Egypt s Minister of Immigration Nabila Makram commented on Massoud s highly awaited attendance, saying that Massoud s participation came thanks to communication with expatriates abroad, especially those from second and third generations. She applauded Massoud s accomplishments as an international artist, who reflects an admirable image for Egypt globally, praised Massoud s devotion to the Arabic language and wished him the best in his acting career. Massoud had previously filmed a behind-the-scenes video for his Egyptian fans, showing a band playing authentic Arabic Egyptian music by the legendary Abdel Halim Hafez, with Massoud singing in Arabic as he danced with the crew. He also filmed another video right before the movie s release saying, “Egypt, this one s for you!” “I am excited for you to see the film Aladdin that is produced by Disney. I am proud to be part of this film and I hope you love it as much as I do and you enjoy it as I much as I did filming it,” he said in the video. Cheering “Tahya Masr” (Long Live Egypt), Massoud showed his and respect towards Egypt and the Arab community which he greeted during the holy month of Ramadan, saying “Ramadan Kareem” during a press conference in Jordan. The co-founder of the GFF, Amr Mansi also expressed his excitement for Massoud s attendance, saying “The festival`s management will spare no effort to build bridges of communication with the stars of the international cinema in general, and those of Egyptian assets in particular, attracting them to participate in the GFF, which we strive to present in the best picture.” Massoud previously featured in films such as “What Happens Next” (2011), “Ordinary Days” (2017), “Final Exam” (2017), “Let s Rap” (2015) and more. He was born in Cairo to Egyptian Coptic-Christian parents, then immigrated to Canada before moving to Los Angeles in 2017. Massoud alongside Egyptian-American actor Rami Malek were nominated for the Teen Choice Awards. The voting was launched on June 25 and awards will be announced on August 11, according to the Variety news website. Massoud was nominated for his famed role in Aladdin, competing in the category “Choice Sci-Fi/Fantasy Movie Actor” along with other prominent actors including Will Smith, also featured in Aladdin, James McAvoy from “Dark Phoenix” (2019), Jason Momoa from “Aquaman” (2018), Lin-Manuel Miranda from “Mary Poppins Returns” (2018) and Zachary Levi from “Shazam!” (2019), Variety reported. Directed by Guy Ritchie, the film is a re-adaptation of Disney s acclaimed 1992 animated film “Aladdin”, which in turn is based on the fairy tale. The remake features inventive special effects and magical, attractive colors inspiring audiences new and old alike across the world.

The Bey Hive was feeling the love Friday over Beyonce s release of the album “The Lion King: The Gift,” which the pop queen dropped as a sister piece to her new film, a remake of the Disney classic. Beyonce dubbed the 27-track album she curated and produced “a love letter to Africa,” enlisting several African artists as well as a host of stars including her husband Jay-Z, Kendrick Lamar, her co-star Donald Glover (who also performs as Childish Gambino) and Pharrell Williams — along with none other than Jay and Bey s seven-year-old daughter Blue Ivy Carter — as collaborators. “I wanted to be authentic to what is beautiful about music in Africa,” Beyonce, who voices Nala in “The Lion King,” told ABC s “Good Morning America.” “The Gift” is separate from the film s official soundtrack which includes a rendition of Elton s John s iconic “Can You Feel the Love Tonight?” by Beyonce and Glover, who plays Simba in the film. John himself also graced the film s soundtrack, released 25 years after the original, with a new song entitled “Never Too Late.” Both albums include Beyonce s latest single “Spirit.” But it s Beyonce s “Gift” that has her legions of fans abuzz. The album features Afrobeat-heavy songs interspersed with dialogue from the highly-anticipated film, which also was released on Friday and stars Seth Rogen as Pumbaa and Chiwetel Ejiofor as Scar. Sonic cinema In addition to pop royalty, Beyonce brought Nigerian musicians Tekno, Yemi Alade and Mr. Eazi on board for “The Gift,” along with Ghanaian reggae-dancehall artist Shatta Wale. Cameroonian urban music star Salatiel sang with Beyonce and Pharrell on the thumping groove “Water.” “I wanted to make sure we found the best talent from Africa, and not just use some of the sounds and did my interpretation of it,” Beyonce said on ABC. In classic Beyonce fashion, the album skews toward the visual — what she calls “sonic cinema.” “This is a new experience of storytelling,” she said in announcing the album. “It is a mixture of genres and collaboration that isn t one sound. It is influenced by everything from R&B, pop, hip hop and Afrobeat.” Beyonce also released a sprawling, richly pigmented video to accompany “Spirit,” which features the star and Blue Ivy in matching ruffled pink dresses, their long curls blowing in the desert wind. “Your destiny is comin close / Stand up and fight,” she sings. “So go into a far off land / And be one with the great I Am.” Pairing her powerful vocals with a visual feast, Beyonce makes about a dozen outfit changes in the video including both custom and couture looks, according to Vogue. The clip was partially filmed in Arizona s remote Havasu Falls in the Grand Canyon. It also includes the legendary “Lion King” scene where Simba and Nala lock eyes over a pool oasis, which the new film recreated from the original animated take. “The soundscape is more than just the music because each song tells the story of the film,” Beyonce said.