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.



Movie Review: ‘Piece by Piece,’ a Very Odd Lego Doc about Pharrell Williams Snaps Together Somehow

 This image released by Focus Features shows lego characters voiced by Jay-Z, left, and Pharrell Williams, in a scene from "Piece By Piece." (Focus Features via AP)
This image released by Focus Features shows lego characters voiced by Jay-Z, left, and Pharrell Williams, in a scene from "Piece By Piece." (Focus Features via AP)
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Movie Review: ‘Piece by Piece,’ a Very Odd Lego Doc about Pharrell Williams Snaps Together Somehow

 This image released by Focus Features shows lego characters voiced by Jay-Z, left, and Pharrell Williams, in a scene from "Piece By Piece." (Focus Features via AP)
This image released by Focus Features shows lego characters voiced by Jay-Z, left, and Pharrell Williams, in a scene from "Piece By Piece." (Focus Features via AP)

A movie documentary that uses only Lego pieces might seem an unconventional choice. When that documentary is about renowned musician-producer Pharrell Williams, it's actually sort of on-brand.

“Piece by Piece” is a bright, clever song-filled biopic that pretends it's a behind-the-scenes documentary using small plastic bricks, angles and curves to celebrate an artist known for his quirky soul. It is deep and surreal and often adorable. Is it high concept or low? Like Williams, it's a bit of both.

Director Morgan Neville — who has gotten more and more experimental exploring other celebrity lives like Fred Rogers in “Won’t You Be My Neighbor?,” “Roadrunner: A Film About Anthony Bourdain” and “Steve! (Martin): A Documentary in Two Pieces” — this time uses real interviews but masks them under little Lego figurines with animated faces. Call this one a documentary in a million pieces.

The filmmakers try to explain their device — “What if nothing is real? What if life is like a Lego set?” Williams says at the beginning — but it's very tenuous. Just submit and enjoy the ride of a poor kid from Virginia Beach, Virginia, who rose to dominate music and become a creative director at Louis Vuitton.

Williams, by his own admission, is a little detached, a little odd. Music triggers colors in his brain — he has synesthesia, beautifully portrayed here — and it's his forward-looking musical brain that will make him a star, first as part of the producing team The Neptunes and then as an in-demand solo producer and songwriter.

There are highs and lows and then highs again. A verse Williams wrote for “Rump Shaker” by Wreckx-N-Effect when he was making a living selling beats would lead to superstars demanding to work with him and partner Chad Hugo — Kendrick Lamar, Justin Timberlake, Snoop Dogg, Busta Rhymes, Gwen Stefani, Missy Elliott and Jay-Z. All those superstars sit for interviews and have hysterically been depicted as Lego minifigures, right down to No Doubt's Adrian Young's mohawk. (Take my money, Lego.)

We also learn something about his wife, Helen, and his anguish over being a solo artist, an opportunity he spurned when it was his for the taking. Ultimately, we learn to understand his futuristic approach to fashion and music. “What I am is a maverick,” he says. No one will question him on that.

The 3D world the filmmakers have made is astonishing, with waves of clear Lego pieces washing up on a beach made of slats of Lego baseplates and Williams' collection of cool beats depicted as bouncing bricks with lights in them. There's Lego McDonald's nuggets, Lego pretzels, singing Lego fish and a Lego Anna Wintour, chilly and haughty in plastic, too.

Lego, while seemingly a restrictive medium — the hands are clips and everyone's walking is robotic since there are no Lego knees — can also, apparently, in the right hands soar, and here they do, with Williams in one gorgeous dream sequence watching the Earth's lights as a distant astronaut. It is when the filmmakers make Lego appear as water and music that are their crowning achievements.

Music credits are notoriously hard to pin down — Williams claims to have created McDonald's notoriously mysterious jingle “I'm lovin' it” — and the filmmakers try to cover any misinformation with a simple disclaimer in the end credits: “Not everything in this film is 100% accurate. For example, Pharrell never went to space.”

There are also some extraordinary moments that snap by but likely took months to make, like a Lego glimpse of the “I Have A Dream” speech by the Rev. Martin Luther King Jr. at the Lincoln Memorial and protest footage from Black Lives Matter figurines shouting “Don’t shoot!”

The documentary lags a little during Williams' way up and rushes the years on top, although recreations of some of the music videos he fueled are too funny. Why he and Hugo broke up is papered over and the filmmakers struggle to find an ending, making several stutter steps.

“I think we're done,” are the last words we hear as the filmmakers finally give up. But they've left behind a trippy, sweet portrait of a genius, forever in building blocks.