Zakaria, a seasoned film critic and an author shares his views on the Arab cinematic and critical scene and his role in directing the Cairo International Film Festival
Interviewed by Nuha Swaid, Cinema Critic, Syria
Dialogue with Essam Zakaria is akin to entering a laboratory of ideas where cinema, with its aesthetic and philosophical questions, intertwines with the complexities of human existence, and art emerges as a window to view the world in its deeper meaning.
A prominent name that needs no introduction, Zakaria is a seasoned film critic, an author, a voracious seeker of knowledge, and a thinker who blends aesthetics with cinematic visions to craft a critical language that unveils cinema’s hidden meanings as a reflection of human struggles—both internal and external. For him, cinema is a research and creative tool that provokes thought and uncovers new worlds, revealing the intricate relationship between self and other. His critical approach combines philosophical reflection with meticulous analysis, reading visual texts as works that convey cultural and civilizational perspectives. Zakaria doesn’t merely observe narratives; he delves into their deeper layers to weave a unique perspective that makes cinema a mirror dissecting the contradictions of human nature while reinterpreting the latent tensions in the surrounding world.
Behind this critical journey lies his passion for chess, another intellectual endeavor that reshapes his worldview. For him, chess is an exercise in anticipation, a strategy for contemplating multiple possibilities, and a tool to view cinema as a complex tactical movement where visual layers intersect with intellectual narratives. Zakaria perceives a film as an expansive chessboard where ideas intersect with imagery, beauty with depth, creating a unique critical vision grounded as much in thought and analysis as in insight and emotion.
In addition to his intellectual contributions, Zakaria plays the role of an inspiring mentor for younger generations, imparting the principles of cinematic critique with a style that reflects the depth of his vision and his sincere commitment to the arts.
Regarding his views on the Arab cinematic and critical scene and his role in directing the Cairo International Film Festival, here is an excerpt from our conversation:
The success of this year’s Cairo International Film Festival and the excellence of its showcased films reflect an exceptional vision and a well-informed management. How do you see this success influencing the festival’s international standing? What are the key lessons you’ve drawn from this edition to improve the experience in the future?
Achieving success in a festival requires a precise understanding of every organizational detail and the ability to anticipate and prevent problems before they occur. Excellence isn’t limited to the quality of films; it also encompasses logistical efficiency and meticulous management of details—from coordinating travel and accommodation arrangements to managing screenings, juries, and the red carpet. Each element demands close attention to avoid any mishap that could affect the festival’s image and international reputation.
This year’s edition was marked by significant audience turnout and extensive media coverage—both Arab and international—compared to previous editions, alongside broad participation from global and Arab film critics and filmmakers. This has bolstered the festival’s standing as an exceptional platform uniting the film industry’s diverse facets, potentially paving the way for new opportunities in co-productions. However, the biggest challenge remains expanding international media coverage to rival major festivals like Cannes and Berlin. This requires doubling efforts to establish the festival as a global event that attracts hundreds of journalists and critics from around the world.
How do you view your experience managing the Cairo International Film Festival as a confrontation between a creative vision aiming to revitalize the cultural scene and the structural challenges that might hinder decision-making? How have you balanced your artistic ambitions with the complex realities requiring considerations beyond creativity?
Amid fierce competition with major festivals that attract top films through substantial budgets, the Cairo Festival faced challenges stemming from its limited resources. The solution lay in thinking outside the traditional framework—seeking high-quality films that hadn’t garnered sufficient attention at other festivals. This approach required extraordinary effort and careful selection beyond financial bids while maintaining artistic integrity.
As for the guests, the focus was on attracting individuals motivated by the cultural value of participating in an event that offers genuine contributions to the festival or its audience, rather than financial incentives. By carefully balancing artistic ambition with financial constraints, the festival successfully showcased its cultural identity and reinforced its artistic stature.
In a previous interview, you mentioned a disagreement with the festival’s president, Hussein Fahmy—a conflict that raised many questions, especially regarding your noticeable absence from the opening and closing ceremonies despite your impactful presence behind the scenes. Can you elaborate on this disagreement? Was it a fundamental clash of artistic visions or a reflection of personal dynamics?
My disagreement with Hussein Fahmy was rooted in a tendency for self-promotion and dominance that became evident after the festival’s preparations were complete and execution began. In complex work environments, prominent personalities sometimes prefer to deal with those they perceive as less assertive, reinforcing their dominance and remaining in the spotlight. However, working with individuals possessing strong visions and impactful presence can become a challenge. These tendencies emerged as an obstacle, but we moved past them and closed that chapter. What matters most to me is focusing on the work and advancing the festival rather than getting entangled in distractions that hinder progress or compromise its essence
Despite the considerable respect and widespread appreciation for your achievements, as well as the admiration of many, you have faced criticism from certain quarters. How do you assess such criticism in light of the deeper challenges reflected in a complex cultural environment? Why did you choose not to highlight your experience at the Cairo Festival after its conclusion, with details remaining vague and limited to hints and suggestions shared through your friends and colleagues in the industry rather than through your own account?
I believe that hard work doesn’t require self-promotion; genuine achievements impose themselves on reality without the need for explanation. At the Cairo Festival, 95% of the work was under my supervision and guidance, making my imprint evident to observers and those who worked closely with me. As for some individuals claiming credit for the success, this reflects a familiar human tendency where some leap between interests or resort to posturing to achieve personal gains. My extensive experience in journalism and festivals has taught me that such behaviors, despite their prevalence, don’t withstand the test of real challenges. That’s why I focus on work instead of engaging in futile conflicts. Time will ultimately reveal the truth and differentiate those capable of leadership from those who merely claim it.
In light of the current Egyptian cultural scene, do you perceive a systematic attempt to sideline independent critics and weaken their influential voices? How has this affected the management of festivals and cinematic events, particularly regarding enriching artistic vision and balancing freedom of expression with institutional pressures?
I don’t see it as a systematic exclusion of independent critics as much as a reflection of a cultural climate favoring superficiality and showiness at the expense of creativity and depth. This environment, which glorifies appearances while marginalizing thought, renders independent critics targets for neglect. They represent the last line of defense for authentic art. Whether through their writings or administrative roles, they face challenges ranging from attempts to include weak films out of courtesy to prioritizing red carpets and media appearances over artistic essence. Thus, a critic’s role becomes a struggle to preserve artistic values and confront an environment that compromises the balance between freedom of expression and the independence of critical perspectives.
With Egypt’s cinematic history spanning over a century, it remains a leader in Arab cinema in terms of production and cultural impact. The Cairo International Film Festival is a cornerstone of this legacy. However, with the emergence of new Arab festivals backed by substantial funding and an emphasis on spectacle, can these festivals reshape the concept of cultural leadership? Could they overshadow the Cairo Festival by focusing on commercial appeal rather than artistic authenticity? Amid these shifts, how can the Cairo Festival maintain its stature and leadership? Is it sufficient to enhance its cultural and artistic identity, or is there a need to restructure its mechanisms to keep up with global competition?
The emergence of new festivals in the Arab scene is not a threat to any existing festival but rather an invitation for renewal and positive competition. These festivals enrich the cultural movement and foster creative interaction among different stakeholders. Culture cannot be monopolized; it flourishes when freed from the constraints of centralization and exclusivity. Competition stimulates continuous development and intellectual growth. Maintaining a leadership position without competition is akin to a lone intellectual in a small village receiving unchallenged applause. Such intellectual stagnation can lead to regression.
While substantial budgets play a supportive role, they don’t guarantee a successful festival or quality film. A lack of funding can be compensated through informed artistic choices and a deep cultural vision that gives the festival a distinctive identity. Furthermore, a passionate audience committed to high-quality cinematic culture is the foundation of any event’s success. Some artists demand money to attend festivals because they recognize that some festivals rely on financial allure. Ironically, these same artists don’t request money at major international festivals distinguished by their cultural and intellectual weight. This exposes the gap between festivals relying solely on financial glitter and those building their presence on robust cultural and artistic foundations.
Arab festivals should liberate themselves from being tied to financially driven names by focusing on distinctive artistic content and an informed audience. Hopefully, every Arab country will have its major festival, flourishing cinema, and passionate audience, transforming the region into a vibrant and integrated cinematic landscape.
Through deconstructing cinematic imagery and exploring its aesthetic and symbolic layers to transcend the surface toward deeper dimensions of interpretation and meaning, how has film criticism reshaped your worldview? How can a film critic blend their creative sensitivity with administrative skills to reshape the cultural landscape and turn their critical ideas into impactful projects with lasting influence?
Film criticism, to me, is a gateway to a deeper understanding of art and an enhanced enjoyment of engaging with it. The artistic process is inherently complex, akin to an intricate puzzle involving reception, perception, and interpretation. This makes critics perpetually eager for knowledge and discovery, seeking the essence of cinema and art.
A critic’s primary drive should be a sincere desire for understanding. Initially, the focus is on self-development and education. The next stage involves sharing this expertise with others, enabling them to enjoy a deeper appreciation of films and better interpret them. It’s akin to learning a new language, mastering it, and then sharing it with others to express themselves.
Critical judgments are not the ultimate goal but rather a natural outcome of research and reflection. When a critic declares a film good, it reflects their enjoyment of its visible and hidden aesthetics and the values that merit appreciation and revisiting. In contrast, disappointment in weak or commercially trivial works stems from expectations hoping for deeper art. Nevertheless, a critic’s stance on such works is less about condemnation and more about expressing a personal vision of good art and striving to uphold standards of beauty and meaning in cinema.
Compared to global cinema with clear schools, creative freedom, and substantial funding, Arab cinema seems caught between bright individual efforts and a fragile production framework. Can Arab cinema be considered a genuine legacy if most of its productions reflect current circumstances rather than transcending time and establishing a sustainable artistic identity?
Arab cinema faces a ceiling it struggles to surpass, despite the presence of good films and the discovery of remarkable talents each year. This barrier hinders its progress compared to cinemas like Iranian cinema, which achieves advancements despite stricter censorship. The issue lies not only in censorship but also in creative freedom itself. Arab creators often grapple with internal constraints limiting their imaginative liberation.
Moreover, Arab cinema struggles to adopt a universal cinematic language. While stories may be relatable, the human, psychological, and social portrayals remain confined to a narrow local perspective. Additionally, there’s a shortfall in mastering universal cinematic elements like acting, cinematography, and direction, which renders Arab films less accessible globally.
Prejudices and biases in character portrayal and storytelling further widen the gap between Arab and global cinema. While great Arab films exist, they often hit a ceiling they cannot breach. The Arab world also suffers from a lack of general and artistic culture, especially in literature, philosophy, and visual arts, significantly impacting cinema. Education and artistic cultivation in the Arab world bear substantial responsibility for this situation, hindering the growth and development of Arab cinema.
How do you view the future of Arab film festivals in light of political considerations and the absence of independent cultural support? How do these factors affect their ability to serve as genuine platforms for creativity and renewal, free from guided directives and preconceived visions?
The continuity of any film festival is evident in its cultural and social impact, alongside its sustained popular and cultural support. Many festivals are held for tourism, publicity, or political purposes. Once these purposes vanish, they cease due to the lack of a long-term cultural vision.
While substantial funding is crucial for a strong start, festivals must achieve self-sufficiency to cover their costs without relying on short-term sources. Festivals that succeed in attracting local audiences and delivering genuine cultural value are the ones that endure. Conversely, those lacking these elements become fleeting events promoting limited objectives, eventually fading away.
Thus, the future of Arab film festivals hinges on their financial independence and their ability to maintain their cultural and creative essence, free from political influences and preconceived visions.
Do Arab critics possess the necessary intellectual and methodological tools to expand their influence and reach a global audience, or is there a deficiency in their intellectual or technical capabilities that prevents them from achieving this goal? What are the obstacles hindering their ability to impact the international cinematic scene—do they lie in the lack of renewed critical vision, or in the absence of appropriate platforms for expressing this critical voice?
It is difficult to generalize, as Arab critics are not a monolithic group; there are skilled, average, and weaker critics. The challenges facing cinematic criticism extend beyond individuals to encompass the structure of criticism itself. The Arab critical landscape generally suffers from the same fragility as Arab cinema. Criticism, being tied to artistic journalism, lacks serious and sustainable platforms as well as material support that would encourage critics.
The greatest challenge lies in the absence of adequate intellectual and methodological tools for many critics. It has become easy for anyone with a moderate presence or superficial knowledge to present themselves as a critic, exploiting an audience that accepts superficiality. This fosters a culture of oversimplification, especially with the dominance of social media, where frivolity often overshadows serious critical discourse. As a result, critics with shallow foundations emerge. However, there remains hope for a natural selection process that distinguishes the genuine from the superficial. I am optimistic that the coming years might bring positive changes to the cultural and critical landscape, enabling Arab criticism to reclaim its stature and contribute to elevating cinematic production while engaging more effectively with the global cultural scene.
You are both a distinguished film critic and a professional chess player. How do you perceive the relationship between the critical thinking required for film analysis and the strategic thinking demanded in chess? Has your passion for chess contributed to enhancing your critical perspective or vice versa? What motivated you to run for the presidency of the Chess Federation in Egypt?
A chess player possesses a unique skill: the ability to adopt a dual perspective, viewing the board not only from their own position but also from the opponent’s. This mode of thinking enables anticipation and careful analysis of moves, fostering what is known as “multi-layered thinking.” This capability closely relates to film criticism, where a critic must view a work of art from multiple angles, understanding both its core message and its contradictions. Chess has deeply enriched my critical perspective, shaping the way I approach analysis.
My passion for chess and films stems from an appreciation for intellectual pursuits that demand focus and reflection, which has drawn me to both since childhood. Combining cinematic criticism with chess strategy has provided me with a deeper and more precise lens for evaluating and analyzing artistic works.
As for my decision to run for the presidency of the Chess Federation in Egypt, it was in response to encouragement from friends and players who believed I could revitalize the game amid the challenges it has faced recently. I hope that my efforts, in collaboration with the chess community, will improve the state of the game, meet players’ needs, and foster a better future for chess in Egypt.
Have you ever encountered a moment in your critical career where cinematic creativity intertwined with your personal concepts of life and existence, compelling you to reassess your ideas about art and reality? How did that moment influence the development of your critical perspective?
This is a complex question, as cinema, as an art form, goes beyond visual pleasure to become a part of our understanding of life and our perceptions of the world. I am currently working on a book exploring how certain films have reshaped our notions of fundamental themes such as justice, love, family, self-image, and the concept of the “other.”
Films contribute to shaping our culture and worldview, even for those who have never left their homeland, offering a window into diverse cultures and worlds. However, this exposure remains relative, as films do not reflect reality itself but rather the way creators perceive it. These cinematic visions, though varied, complement one another through repeated viewing and exposure to other knowledge sources like documentaries and books, creating a more comprehensive picture of the world.
As we grow in knowledge, culture, and life experiences, we become better equipped to understand and analyze cinema with greater awareness. Films that initially seemed complex or ahead of our personal experiences may reveal new dimensions and deeper meanings as we mature. Life experiences enhance our understanding, making us more connected to film themes and better able to grasp their contexts and implications. This dialectical relationship between art and reality makes film criticism an ongoing journey of reevaluating our concepts and knowledge.
After years of dedication to film criticism and festival management, what future projects do you aspire to achieve to enhance the Arab cinematic landscape? What are you preparing in the field of writing to further develop this domain and deepen its impact locally and globally?
I am currently engaged in cinematic writing and recently completed a book titled The Critic’s Toolkit, in which I attempt to distill my experiences in film culture and criticism. I am also working on several projects about specific films and cinematic trends. Additionally, I am preparing other book projects that will soon be released, alongside training workshops aimed at guiding and mentoring young individuals interested in film criticism. Furthermore, I continue to write critical articles for various publications regularly.
What advice would you give to young critics seeking to combine the power of critical analysis with cultural management skills to transform their visions into inspiring cultural initiatives that push creativity into new directions?
To young critics, I would say: criticism is a continuous intellectual journey built on mindful viewing, deep reading, and writing that undergoes constant revision. The essence of criticism lies in questioning; it is an ongoing dialectical process that avoids absolute judgments or final conclusions. Critics must maintain an open mind, recognizing that every opinion has its counterpoint and that every artistic school or cinematic vision offers a perspective worth considering.
Every film a critic watches is an opportunity to reshape their critical awareness and add new dimensions to their understanding of the artistic and cultural context. In this sense, critics must remain in a state of constant exploration, avoiding the notion that they have reached ultimate wisdom or possess infallible judgment. Criticism, like art itself, is an incomplete space requiring critics to be perpetually prepared for dialogue, open to differences, and passionately engaged in discovering beauty and meaning in every cinematic work.
Read- Adel Adeeb: Egyptian Film Maker Who Turned Challenges into Achievements
___________________
