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Director goes off Egypt's script

An expatriate returns to make a film about a pregnant Christian girl and her Muslim lover. But it's not the image Cairo wants to project.

June 04, 2010|By Jeffrey Fleishman, Los Angeles Times
  • Issawi's "American East" has yet to lock in a U.S. distributor.
Issawi's "American East" has yet to lock in a U.S. distributor. (Distant Horizons )

Reporting from Cairo — In the sweltering heart of a poor country, where desperate men board smuggling boats heading for uncertain lives across the sea, a Christian girl and her forbidden Muslim boyfriend test the bonds of love and the bounds of tolerance.

Getting such a story onto film has not been easy for Egyptian American director Hesham Issawi. Egypt's Ministry of Interior cited national security concerns in April when it temporarily halted production of " Cairo Exit." The director's austere realism was deemed too sensitive for a nation simmering with religious frictions and political anger.

"It's a love story. There's no politics," said Issawi, who after years of working in the U.S. has briefly returned to the daily struggles and cultural complexities of his native land. "It's the story of a young girl afraid. She doesn't know what lies ahead. That's the whole thing about Egypt. We have to kill our fear."

But, the censor protested, why do Egyptians have to confront this fear with provocative images of a whorehouse, an out-of-wedlock pregnancy, and Christian and Muslim lovers torn by poverty and desire while living in a crucible of whispers and religious divisions?

"This all exists in Egypt. I just compressed it," said Issawi, 41, a onetime anthropology major who dropped out of Alexandria University and left Egypt to study film in Chicago. He eventually settled in Los Angeles, making movies that have won awards in festivals in New York and other cities.

"Cairo Exit" is Issawi's attempt to articulate Egypt's social and economic troubles. He submitted the script to the government censor shortly after the slayings of six Coptic Christians by Muslim gunmen in January.

The killings pointed to deepening interfaith anxieties and suspicions that the country has historically preferred to ignore. The censor worried that the depiction of the film's protagonist, a Christian girl named Amal, as pregnant with her Muslim lover's child would infuriate priests and imams alike.

Christians and Muslims have coexisted here for centuries, but growing Islamic conservatism, along with scattered violence against Copts, who make up about 10% of the population, has the government on edge. The authoritarian state has sought to suppress radical voices while Muslim and Christian clergy have conjured a false gleam of harmony. Such an atmosphere, charged by poverty, was not welcoming to a returning exile aiming his lens beyond the limits of tradition and taboo.

Issawi, a Muslim, is the son of a geologist and a journalist. He spent much of his youth studying American movies and fuses art and confrontation in his own films. His works include a documentary on the outlawed Muslim Brotherhood, which seeks to turn Egypt into an Islamic state.

His fictional films explore the psychological and moral issues concerning how Arabs have been perceived in the West since Sept. 11, 2001. One of them, "AmericanEast," partly inspired by Spike Lee's "Do the Right Thing," is set in a steamy Los Angeles cafe where Arab customers contend with rage, paranoia and fear in a country that looks warily upon them.

"Cairo Exit" slips into the clattering slums of Egypt. Since Issawi's youth, the city has turned crowded and moody. Egyptians have grown restive; everyone seems to be rubbing up against someone else. Mothers complain about the rising costs of cucumbers and meat, and alleys echo with tinkerers and fix-it men hoping to earn a few dollars a day. A lot doesn't work, and what does is fueled by bribes and connections, leaving millions of people running for rusty public minibuses beneath a skyline hemmed in smog.

"It seems there's no sense of security," Issawi said. "There's hopelessness, rising crime, fundamentalism and people escaping across deserts and oceans for better lives. When you wake up, life becomes a struggle for even the simplest of things."

He added, "I hadn't been to Cairo in 14 years, but since 2003 I've been coming back and each trip I've noticed the materialism is getting worse and worse. There's a saying in Egypt now, 'Everyone has their hands in someone else's pocket.' People have nothing, but they want."

"Cairo Exit" is about choice and a chance to escape. Amal's hairdresser friend, Ranya, has hymen restoration surgery so she can pretend to be a virgin and marry a rich man from the Persian Gulf. Amal's lover, Tarek, decides to take a smuggler's boat to Europe, leaving her on the dock, forced in the final scenes to choose between him and her family and country.

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