The recent entry of Saudi Arabia, represented by the General Entertainment Authority, as a production partner in several major Egyptian films has sparked widespread controversy in cultural circles. In this context, film critic Wael Al-Otaibi asserted that this debate lacks objectivity and a careful historical understanding of the long and distinguished history of Egyptian cinema. He emphasized that co-production is not a new phenomenon, but rather a fundamental pillar of the industry since the beginning of the 20th century.
The roots of co-production in the history of Egyptian cinema
Al-Otaibi explained that revisiting the archives of Egyptian cinema reveals a compelling truth: the establishment of this industry was not a closed, local effort, but rather the product of extensive cultural and investment exchange. Producers of diverse nationalities and backgrounds contributed to laying the foundations of Egyptian cinema. Among the most prominent of these pioneers were the Lama brothers (Badr and Ibrahim Lama) of Palestinian-Chilean origin, the leading producer Assia Dagher (of Lebanese origin) who produced the iconic historical film "Saladin," Mary Queeny, and others.
He added that this approach has continued for decades, with the scene seeing prominent names like Armenian producer Takvor Antonian, Palestinian producer Riad Al-Arian, and Lebanese producer Sadek Sabbah. Never were the patriotism of the Egyptian artists who collaborated with them questioned, nor were they accused of carrying out foreign agendas, which raises questions about the motives behind the current attack.
Double standards in art criticism
Al-Otaibi denounced what he described as the "double standards" of some critics who have recently been quick to accuse Saudi Arabia of treason simply for being mentioned as a production partner. He cited the example of renowned director Youssef Chahine, who produced several of his most important films through French partnerships (such as "Adieu Bonaparte" and "Destiny"), works that contributed to the international recognition of Egyptian cinema and were not met with accusations of compromising national identity.
Al-Otaibi also touched on the controversy surrounding works that deal with the biography of “The Star of the East” Umm Kulthum, pointing out that the film “Looking for Umm Kulthum” by Iranian director Shirin Neshat, starring Yasmin Raeis, was an international co-production (Germany, Austria, Italy, Qatar), and passed without the uproar of accusations of treason that we see today.
The economic dimension and the integration of visions
In further analyzing the landscape, the significant economic dimension of these partnerships cannot be overlooked. The film industry is capital-intensive, and the collaboration between established Egyptian companies (such as Synergy and Film Square) and the Saudi General Entertainment Authority is complementary, serving both markets. This cooperation opens up broader distribution opportunities and ensures production quality that meets global competitive standards, aligning with the goals of Saudi Vision 2030, which places great emphasis on the culture and arts sector as a key driver of development.
Al-Otaibi concluded his remarks by emphasizing that an artwork should be evaluated based on its creative quality and the vision of its creators, whether it be the writer Ahmed Mourad or the director Marwan Hamed, and not based on the nationality of the funding entity, asking: “Why is this dust being stirred up now about a collaboration that is at its core an extension of a long history of Arab brotherhood and partnership?”.
