During the 46th edition of the Cairo International Film Festival (CIFF), which takes place from November 12 to 21, 2025, its president Hussein Fahmy devoted a meeting to the Arab press to discuss the major issues of the festival, his vision of Egyptian cinema and the way he sees his role at the head of an event that he considers to be one of the most important in the Arab world and the African continent.
A reflection on the role of the CIFF and its legacy
From the first questions, Hussein Fahmy expressed the wish that this edition would be better than the previous ones. The idea of moving forward, enriching the festival and strengthening its identity often comes up in his remarks. For him, the CIFF draws its strength from its roots: Egypt, its cinematic history and the fact that it is the oldest and most important festival in the region, founded in 1972. However, he seems to forget that the Carthage Cinematographic Days, created in 1966, are even older; but their initially biennial nature explains why they are only in their 36th edition.
Asked about the future of the festival, Hussein Fahmy is confident. Despite the proliferation of film festivals in the Arab world, he does not perceive this dynamic as a threat but as a stimulating context. “ Competition stimulates creativity », he affirms, emphasizing that the forty-seven years of history of the CIFF constitute a solid institutional base. What he hopes to convey, he says, is a festival that is strengthened, sustainable and capable of supporting the evolution of Arab cinema.
A personal commitment to the restoration of cinematographic heritage
The restoration of films constitutes a major pillar of its action, a commitment directly linked to its own journey. From his beginnings, Hussein Fahmy learned his trade from the first generation of Egyptian filmmakers, and worked with figures such as Hassan El Imam and Youssef Chahine. This proximity to these masters, he says, shaped his taste for cinema and his feeling of responsibility towards this heritage. His desire to restore films flows naturally from this training and the conviction that he carries a part of his heritage.
When he became president of CIFF, he was appointed to the board of directors of a company that owns 1,400 films and several movie theaters. He then launched a vast restoration project, carried out with the director of photography Mahmoud Abdel Samie, very involved in this mission. Several films have been restored, subtitles added, and the work continues. Various countries, including China and Germany, have provided support.
For Hussein Fahmy, restoring these films only makes sense if they are seen: in addition to programming them at the CIFF, he plans to make them available on platforms to reach a wider audience. He recalls that when they were released, many of these films were already circulating in the USSR, Brazil or China, and that subtitles now facilitate their return to the international scene.
This year, he had the idea of printing the posters of the restored films on the festival bags. The reaction of the public, who requested specific bags based on the posters, amused the organizers and, according to them, testifies to the attachment of spectators to these works.
The day after this meeting, and still in the same spirit of celebrating cinematographic memory, Hussein Fahmy invited the press around a huge old camera belonging to Studio Misr, installed for the occasion in the garden of the Cairo Opera. He explained its operation, mechanisms and particularities, before announcing that advanced studies and discussions are underway with Italian specialists to finally create a cinema museum in Egypt. The location remains to be determined, but the initiative is part of a global heritage vision.
A presidency carried out in parallel with an active acting career
Asked how he reconciles his acting career and the presidency of CIFF, Hussein Fahmy explains that he does not need to be present in the office every day for long hours. Its role consists of defining the strategy, the main directions, the structuring decisions, and resolving any problems. Daily execution is ensured by its team, made up of qualified professionals.
Last year, he was even filming during the festival. This year, as soon as it closes, he will go to the Marrakech Festival, in Morocco, where a tribute will be paid to him, before resuming filming in Egypt. He has just celebrated fifty years of career, during which he explored all genres – tragedy, comedy, theater, cinema – taking care, he says, never to repeat himself. According to him, he accomplished everything he wanted artistically.
Difficult decisions, political context and cultural responsibilities
Looking back on his three years as president, Hussein Fahmy cites among the most difficult decisions the replacement of certain members of the former CIFF team.
He also discusses the challenges of the 2024 edition. After the massacre that followed on October 7, the festival considered it essential to put the spotlight on Gaza and take a clear position. In particular, he recalls his decision to announce that the State of Israel would not participate in the CIFF. A position that he was criticized for when he served as goodwill ambassador to the UN. He says he has taken full responsibility for it, going so far as to surrender his diplomatic passport: “They cannot silence us,” he says.
This year, the situation is different, marked by what he describes as “pseudo-peace”. At the same time, Egypt is going through a particularly intense period, marked by major cultural projects such as the inauguration of the Grand Egyptian Museum, which give the feeling of a new dynamic. The festival fits into this context, while keeping a close eye on the situations in Palestine, Sudan and Lebanon.
The selection of films and the question of Egyptian artists
Regarding the selection of the 46th edition, Hussein Fahmy describes a process in several stages: a commission views the films and submits reports. He watches certain titles that he considers important, but the opening and closing films are his direct choice. This year, he selected the Brazilian film Tereza’s travels for opening and The voice of Hend Rajabby Kaouther Ben Hania, for the closing. He insists that no external or financial pressure comes into play in these decisions.
Asked whether Egypt can still produce artists comparable to Ahmed Zaki, Nour Sherif, Hussein Fahmy himself, Nagla Fathy or Shadia, he answers yes. Even if artists of this caliber are rare, the new generation has, according to him, excellent talents.
Artificial intelligence: a useful tool, but never a substitute for humans
Asked about artificial intelligence, Hussein Fahmy is cautious. AI can be useful occasionally, he says, but should never replace humans. It makes things superficial, creates a distance between the viewer and the characters, and risks impoverishing the emotional depth of the cinema. He fears that excessive use will make the sensitive dimension that constitutes the very essence of the seventh art disappear.
Neila Driss
