Mounira Cinema Mondays sheds light on young Egyptian filmmakers

The Mounira cinema offers the chance to discover short and medium-length films by young Egyptian filmmakers every Monday until July. This initiative is a collaboration between the French Institute and the Mazra'a Network.

This past March marked the revival of a beloved tradition at the French Institute: Mounira Cinema Mondays.

For years, the Institute had hosted free Monday screenings of short and medium-length films, sometimes followed by lively discussions with the filmmakers themselves. This year, however, the festival has taken on a fresh direction, with a renewed focus on young Egyptian productions.

The new programming results from collaborating with Mazra'a Network, a collective devoted to connecting young artists from Cairo's vibrant creative scene. Selected by the French Institute to curate this year's selections, Mazra'a—through the efforts of three of its members, Tarek Abdallah, Youssef Mansour, and Lina Khedr—has assembled a diverse lineup of filmmakers, with a particular emphasis on showcasing emerging female voices. The aim is clear: to highlight the brilliance and resilience of young women artists navigating the film industry's often exclusionary and misogynistic landscape.

The 2025 season bears the poetic title: So That the Birds Return. It evokes the spirit of invitation—an open call for young filmmakers to claim their space on the big screen. Yet the path from promise to recognition remains steep for many of them.

For these artists, establishing a presence in cinema is no easy feat. But at the heart of this festival lies a simple, powerful idea: to make art, you must do it, want it, and refuse to be discouraged. By tackling the persistent challenges of film distribution, Mazra'a's founder is working to democratize experimental cinema and offer a platform for young, luminous talents.

Each session of the festival is structured around a central theme. The first evenings explored memory, belonging, feminine narratives, and even the intersection of rap and cinema. These thematic frames offer a lens through which the short films can be experienced—but the filmmakers interpret them with a mix of poetry, playfulness, and imagination.

One of the festival's early revelations was Void, a short film by Mahinour Awad. Awad, an architect with a film background from the American University in Cairo, follows a ballerina dancing far from the polished floors of a studio—on a city porch or atop a parking garage. With quiet determination, the dancer moves step by step through these unconventional spaces, her grace cutting through the surrounding noise and disarray. Awad's film is interwoven with spoken passages in which an actor breaks the fourth wall, speaking directly to the audience or stepping into the role of fellow spectator. The result is an arresting piece that encapsulates the festival's sense of wonder.

Also featured is Apoléon, a playful short film by Amir Youssef that reimagines Napoleon's conquest of Egypt. Supported by the Army Museum of Paris, Youssef brings the museum's wax figures to life using voiceovers, lighting, and camera movement. The film stages whimsical scenes—Napoleon addressing his army of miniature figurines or mock-epic battles between Mamluks and the soldiers of the future French Empire.

This creative use of wax figures sets the stage for a clever critique of colonial narratives. When Napoleon declares his invasion of Egypt a "study trip," his troops gleefully discuss packing their swimsuits—only to be reminded by the general to bring their weapons instead. Youssef's film delivers a decolonial message laced with humor and clarity, inviting viewers to confront history's contradictions with fresh eyes.

Still to Come

In April, the festival will continue to explore the themes suggested by its title, So That the Birds Return. Concepts like memory, heritage, and the search for origins will emerge through the films.

Belal Abosamra, in Bahr (The Sea), reflects on grief and its spiritual dimensions. Youhanna Nagy turns to the Book of Genesis for inspiration, titling his film And There Was Evening, and There Was Morning, the First Day.

Other featured filmmakers include Ahmed Kayak, Alia Ibrahim, Farah Naboulsi, and Tarek Abbas. Each screening offers the chance to experience their work and engage with the artists themselves during post-screening discussions moderated by Mazra'a.

April will also include a musical session with Zein El-Arfeen and Aly Amin performing selections from their repertoire. These musical interludes reflect the festival's interdisciplinary spirit and Mazra'a's commitment to showcasing the breadth of young Egyptian creativity.

The festival promises a series of captivating evenings, blending poetry with humor and elegance with disruption. The works of these young filmmakers reveal not only their talent but also their rightful place on the big screens of Cairo's theaters.

Mounira Cinema Mondays continue through July, with screenings every Monday at 7 p.m. For full details, check the social media pages of Mazra'a Network for Arts and Culture and the French Institute of Mounira.

From : Al-Ahram