Last night I watched East of Noon, written and directed by Hala Elkoussy, and I can confidently say it's one of the boldest and most beautiful cinematic experiences to come out of Egypt in recent years.
The film stands apart from the mainstream - it defies commercial expectations and leans into a freer, more artistic vision, reminiscent in spirit of Youssef Chahine's cinema. Yet, Elkoussy's voice is entirely her own, choosing to stay loyal to her art, her personal taste, and the world she envisioned - without compromising to please the market or the passive viewer.
A Symbolic, Surreal World:
Set in a strange, surreal place called East 12 (a fictional time zone), the world of the film initially feels abstract, but it slowly reveals itself as a distorted, satirical, and deeply painful reflection of Egypt. Filmed in black and white, the visual tone adds to the mood - a chaotic, harsh world, but not without its moments of beauty. It's ruled by "Shawky Bey," a president taking orders from unknown authorities, maintaining power through two enforcers: Barai, the brute force of corruption and law, and Galala, the soft illusion of imagination.
The Rebels:
Amidst this oppressive world emerge two rebellious spirits - Abdo and Nouna - who carry within them both pain and hope. They yearn to escape, either by jumping from the metaphorical ladder or running toward the sea, which in this world is guarded by soldiers of fear, yet remains a symbol of freedom and dream.
Craft & Aesthetics:
The film is shot entirely in black and white, with rare but breathtaking transitions to color. The opening credits are some of the most stunning I've ever seen. The film features not one but three consecutive endings - the first, a powerful and poetic dance between Nouna and Abdo, instantly reminded me of the iconic Pulp Fiction dance scene. Then comes a scene of violence reminiscent of Return of the Prodigal Son, ending with a third vision: the sea, color, orchestral music - all appearing for the first time in the film's final moments.
Outstanding Performances:
The cast delivers on every level. Ahmed Kamal gives a nuanced performance, Menha El Batrawy is captivating as always, and Osama Aboul Ata is a surprising and remarkable presence.
Currently showing at Zawya Cinema, the film is slower in pace than typical Egyptian films - but its rhythm is closer to that of thoughtful European cinema, giving space for contemplation and depth.
Highly recommended for anyone who sees cinema as an art form, not just entertainment. If you're looking for something different, bold, and visually poetic - this film is for you.
