Saudi productions in Egyptian cinema: Historical facts and manufactured controversy
The recent entry of Saudi Arabia, represented by its General Entertainment Authority, as a production partner in several major Egyptian films has sparked controversy in cultural circles. In this context, film critic Wael Al-Otaibi asserted that this debate lacks objectivity and a fair assessment of the rich history of Egyptian cinema, pointing out that "joint production" is not a new phenomenon, but rather a fundamental pillar upon which the industry has been built since its inception.
Non-Egyptian roots of an Egyptian industry
Al-Otaibi explained that revisiting historical documents of Egyptian cinema reveals a fact often overlooked: the foundations of this industry were not built solely with Egyptian capital. Producers of diverse origins and nationalities played a pivotal role in establishing this "Hollywood of the East." He cited prominent names such as the brothers Badr and Ibrahim Lama (of Palestinian-Chilean descent), and the esteemed producer Assia Dagher and her niece Mary Queeny (of Levantine origin), who gifted Egyptian cinema with timeless classics like the film "Saladin the Victorious." These pioneers were never viewed as outsiders; rather, they were integrated into the fabric of Egyptian society, and no one questioned the patriotism of their work.
Double standards in criticism
The art critic pointed to a clear contradiction in how some critical voices deal with foreign funding. While the artistic community has historically welcomed European partnerships, as seen in the experiences of the renowned director Youssef Chahine with French productions, or the collaborations of Egyptian producers with financiers from various Arab countries, such as the Lebanese producer Sadek Sabbah, today accusations of treason are being leveled at the mere mention of the Saudi "Entertainment Authority." Al-Otaibi questioned the reason for this hostility, especially since the current collaboration falls within the framework of Arab cultural integration, which serves the quality of artistic work and opens up wider markets for its distribution.
The Umm Kulthum affair and the manufactured controversy
Regarding the controversy surrounding works about the life of the legendary singer Umm Kulthum, Al-Otaibi expressed surprise at the preemptive attacks on Saudi-backed projects, contrasting them with the silence that greeted previous works. He cited the example of the film "Looking for Umm Kulthum" by Iranian director Shirin Neshat, which was co-produced by countries such as Germany, Austria, and Qatar, and did not face accusations of "erasing identity." He emphasized that the new work sparking controversy is fundamentally Egyptian, written by Ahmed Mourad, directed by Marwan Hamed, and produced by established Egyptian production companies, rendering the attacks against it artistically unjustified.
Vision 2030 and the strategic dimension
Al-Otaibi concluded by emphasizing that the partnership between the Saudi Ministry of Culture and the General Entertainment Authority, on the one hand, and Egyptian filmmakers, on the other, aligns perfectly with the goals of Saudi Vision 2030, which places great importance on the arts. He considered this collaboration beneficial to Arab "soft power," as it allows for the allocation of substantial budgets befitting the value of historical artistic icons, rather than producing low-budget works that misrepresent their history. He urged critics to focus on the artistic quality of the final product instead of being preoccupied with funding sources, which have always been and will continue to be diverse in the world of cinema.
