Critics of Citroën Ad, Featuring Amr Diab, Say it Promotes Sexual Harassment

Amr Diab. (Getty Images)
Amr Diab. (Getty Images)
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Critics of Citroën Ad, Featuring Amr Diab, Say it Promotes Sexual Harassment

Amr Diab. (Getty Images)
Amr Diab. (Getty Images)

An advertisement by a French automaker has stirred up controversy in Egypt after activists said it promoted sexual harassment.

The ad by the Egyptian branch of Citroën, released last month, shows popular Egyptian singer and actor Amr Diab driving the latest version of the company’s C4, before coming to an abrupt stop in front of a woman crossing the street.

Diab looks at the woman and snaps a picture of her from a camera fixed in the car's rearview mirror. The singer is seen smiling as the woman’s image appears on his phone. Both are then seen together as if on a date.

Although apparently intended to feature the car's camera, the advertisement has drawn criticism of the automaker and the 60-year-old singer seen as a role model for many across the Arab world.

Under pressure from the backlash online, Citroën Egypt offered an apology and removed the 100-second commercial.

“We deeply regret and understand the negative interpretation of this part of this film. With our business partner in Egypt, we took the decision to withdraw this commercial from all Citroën channels and we present our sincere apologies to all offended communities by this film,” it said in a statement.

There was no comment from Diab, who still has the video on his social media accounts with tens of millions of followers.

Speak Up, an Egyptian feminist initiative, called the add “creepy” and said it promoted "photographing girls casually on the street without their consent only because he likes them.”

“Everything can be a double-edged sword. In this advert, @Citroen #Egypt chose to show the negative aspects of their C4′s new features, from harming people’s privacy to harassing girls in the street! #MeToo,” a user named The Lady said in a post on Twitter.

Feminist Sabah Khodir lashed out at the automaker, accusing it of exploiting women’s struggle against gender-based violence “as an opportunity to sell vehicles.”

She called for Hany Shaker, head of the Egyptian Musician’s Union, to launch an investigation into Diab’s participation in the ad.

“I wonder what Hany Shaker ... thinks about Amr Diab promoting sexual harassment in the new @citroen commercial, or is that not against Egypt’s cultural values?” she said in an Instagram post.

In recent years, organized efforts by civil society to combat the phenomenon encouraged women to be more outspoken about it, despite the insistence of a large sector in society that it doesn't existence. Many women, inspired by the #MeToo movement, also spoke out on social media about the practice.

Authorities have increased penalties for sexual harassment in its penal code, making the practice a felony with up to five years in prison.



China’s Jia Brings Film Spanning Love, Change over Decades to Busan

This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
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China’s Jia Brings Film Spanning Love, Change over Decades to Busan

This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)
This picture taken on October 5, 2024 shows Chinese film director Jia Zhangke (L) and Chinese actress Zhao Tao (R) posing for photos during a press conference for the Gala Presentation "Caught by the Tides" at the 29th Busan International Film Festival (BIFF) in Busan. (Yonhap/AFP)

Chinese director Jia Zhangke's ambitious latest, which utilizes footage shot across two decades, offered a peek into the evolving nature of cinema as it unspooled at this year's Busan International Film Festival.

"Caught by the Tides" combines a story of elusive love with a panoramic portrayal of recent Chinese history using everything from low-resolution digital camera footage to a scene enhanced with cutting-edge AI technology.

And while it explores the meaning of the past, the film's creation emphasized innovation.

Jia assembled and recontextualized footage shot over more than 20 years, including unused scenes from previous films, newly filmed sequences, and random images he captured during his travels -- blending documentary and fiction.

The result, with a format reminiscent of Richard Linklater's 2014 film "Boyhood", creates a vivid record of time passing, particularly through lead actress Zhao Tao, Jia's long-time collaborator and wife in real life.

As she goes on a fruitless search for a lost love, audiences witness her age before their eyes.

The film also uses images related to key events that have shaped contemporary China, such as the successful bid for the 2008 Olympics and the construction of the Three Gorges Dam, which resulted in often overlooked suffering for those displaced by the project.

"After Covid, I felt that one era had ended and a new one was emerging," Jia told reporters in Busan when asked what motivated him to create "Caught by the Tides".

"With the rapid advancements in technology, including science, the Internet, and AI, people's lifestyles have also shifted. I realized that during this period of change, it was important to process the (accumulated) footage I had previously filmed."

Actress Zhao described the film as a "truly precious gift."

"It has allowed me to document my 20s, 30s, and 40s through the medium of film, while also expressing the lives and struggles of many women through the character," she told reporters.

The film played over the weekend as part of BIFF's gala presentation section.

- Covid, cinema and AI -

Jia's feature debut, "Xiao Wu", earned the director BIFF's New Current Award for emerging filmmakers in 1998, when he was just 28.

"It's not an exaggeration to say that my life as a filmmaker started in Busan," Jia said, adding he had missed the South Korean port city since his last visit.

He has since won the top prize at the Venice Film Festival for "Still Life" (2006), among other prestigious awards, establishing himself as one of the most important Chinese filmmakers of his generation.

"Jia stood out as someone who is obviously talented. He was, above all else, original," Kim Dong-ho, the 87-year-old BIFF founder, told AFP of the Chinese filmmaker's younger years.

Now 54, Jia has brought his latest film to Busan at a pivotal moment of change for the festival.

BIFF's opening night featured a streaming title for the first time in its history, and it hosted a day-long conference just on the theme of AI in content production.

At the festival's main venue, giant posters of Netflix's latest streaming projects underlined the shift -- including its opening film "Uprising," positioned next to a festival gift store that ironically proclaimed: "Theater is Not Dead."

Jia's film, by its end, reflects and evokes these changes and what may lie ahead, showing its characters queuing for PCR tests and wearing masks during the Covid pandemic, an era that contributed to the rise of streaming platforms worldwide.

One scene was modified using AI technology, changing the film that the protagonist watches to create a stronger link to an element introduced later in the story -- robots.

When reflecting on his some 26 years in film, Jia said: "It feels like I've been drifting in an endless ocean."

But "completing each film made me feel like I stood tall, having overcome the waves."