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‘National Egyptian Film Festival’ Honors Young Talents

Egyptian actor Samir Sabri in 2016 at the 9th Muscat International Film Festival in Oman. AFP
Egyptian actor Samir Sabri in 2016 at the 9th Muscat International Film Festival in Oman. AFP
    Cairo - Intissar Dardir
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‘National Egyptian Film Festival’ Honors Young Talents

Egyptian actor Samir Sabri in 2016 at the 9th Muscat International Film Festival in Oman. AFP
Egyptian actor Samir Sabri in 2016 at the 9th Muscat International Film Festival in Oman. AFP

Young talents have bagged most of the prizes awarded during the 24th edition of the National Egyptian Film Festival in its two competitions: best feature film, and best short film, documentary, and animation.

The festival, organized by the ministry of culture to support the Egyptian cinema with money prizes worth 1.2 million Egyptian pounds, was attended by Minister Dr. Ines Abdel Dayem. At the beginning of the ceremony, the festival paid tribute to the late artist Samir Sabri, whose pictures were raised in the big theater, at the Cairo Opera House. During a keynote he addressed, Critic Kamal Ramzi said, “the late artist was indeed a man of festivals who supported all the cinema events in the country.”

The festival reflected the status of the Egyptian cinema in the past year on the level of production and quality. This edition saw the participation of 15 out of 24 feature films that were produced in 2021, while 92 movies competed in the short film, documentary, and animation contest.

The minister said the National Egyptian Film Festival is a major contributor to promoting the role of cinema in highlighting and addressing social causes and enhancing the national identity.

He said that cinema was and will always be a means to spread awareness and build a strong, coherent society.

In the beginning of the ceremony, as part of the ‘Eternals’ program dedicated to honor prominent artists, the minister paid tribute to four major figures in the Egyptian cinema: Rajaa Hussein, Abdelaziz Makhiun, and film editor Rahma Montaser, in addition to late director Abdul Qadir al-Talmasani.

The festival also released four books that highlight the journeys of the four figures.

Young talents won most of the prizes in the feature film contest overseen by a jury headed by Director Inas El Degheidy. ‘Al Aaref’ and ‘Abu Saddam’ won the biggest number of prizes; the first won five awards: best direction (Ahmed Alaa al-Deeb), best actress (Carmen Bsaibes), best montage (Ahmed Hafez), and best sound (Ahmed Abu al-Saad), in addition to the best production award.

The second won best actor (Mohammed Mamdouh), best supporting actress (Zeina Mansour), and the second-best production award. ‘Abu Saddam’ director Nadine Khan, daughter of late director Mohammed Khan, won the best direction of first work award.

Nadine expressed her gratitude for this tribute. “It’s very motivating. I dedicate this tribute to the Egyptian cinema, filmmakers, and to my father’s soul. I am so proud of his artistic journey; I learned a lot from him,” she told Asharq Al-Awsat.

The ‘For Rent’ movie won the best script award (Islam al-Sayed), and the third best production award; ‘Moses’ won the best cinematography award (Hussein Osr) and best production design (Ahmed Fayez); ‘Human and Mongoose’ movie won the best wardrobe award (Ines Abdullah), and best music award (Moudi Imam). Actor Ahmed Dash won the best supporting actor award for his role in “The Court” movie.

The jury also awarded a special prize to actresses Layla Elwi and Isaad Younis for their roles in the film ‘200 Pounds’.

Inas El Degheidy said the festival’s awards went to those who deserve them. “We didn’t give a prize to someone who doesn’t deserve it. We chose good works made by young filmmakers in their first or second experiences. They presented good movies with high artistic potential.

“But the common problem among all the participating works was the weak script. In fact, we considered suspending the best script award, but we didn’t to encourage the industry. We also noted the small number of participating movies, and the shrinking productions. We used to produce around 70 films every year in the past decades, which indicates a major problem that should be considered carefully.”

The short film awards, whose jury was headed by cinematographer Said Shimi, were also bagged by young filmmakers. Director Bassem al-Turki was loudly applauded when he took the stage to receive his best short film award for his movie ‘Illusions of the Locked Room,’ which he wrote, directed, and montaged despite his disability.

Director Nabil al-Shazly won the best long documentary award for his work ‘Crocodiles of the Nile’.

“I don’t mind screening my movie for free on cable channels to reach the widest audience. This is the true award,” Shazly told Asharq Al-Awsat.

The festival used to screen all the participating movies to the public before announcing the awards, however, this year, it only screened the winning works one day after its closing ceremony.

“We honor the winning movies by screening them to those who didn’t have the chance to watch them, and those who want to discover the reasons behind their success. We also planned seminars to discuss the winning works with their makers,” Kamal Ramzi, head of the festival, told Asharq Al-Awsat about the screening decision.

Ramzi said he ensured the competing movies get the best evaluation, noting that the awards were a happy surprise for the young filmmakers who are making their first steps in this industry. “We were also keen to honor fewer productions compared to previous editions, to add more depth and value to the tribute.”

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Varieties

‘Like Skiing’: First Urban Cable Car Unveiled Outside Paris

This photograph shows the first urban cable car "C1" in Ile-de-France region during its official launch, in between Creteil Pointe du Lac and Villeneuve-Saint-Georges, on the outskirts of Paris on December 13, 2025. (AFP)
This photograph shows the first urban cable car "C1" in Ile-de-France region during its official launch, in between Creteil Pointe du Lac and Villeneuve-Saint-Georges, on the outskirts of Paris on December 13, 2025. (AFP)
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‘Like Skiing’: First Urban Cable Car Unveiled Outside Paris

This photograph shows the first urban cable car "C1" in Ile-de-France region during its official launch, in between Creteil Pointe du Lac and Villeneuve-Saint-Georges, on the outskirts of Paris on December 13, 2025. (AFP)
This photograph shows the first urban cable car "C1" in Ile-de-France region during its official launch, in between Creteil Pointe du Lac and Villeneuve-Saint-Georges, on the outskirts of Paris on December 13, 2025. (AFP)

Gondolas floated above a cityscape in the southeastern suburbs of Paris on Saturday as officials unveiled the first urban cable car in the French capital's region.

Authorities inaugurated the C1 line in the suburb of Limeil-Brevannes in the presence of Valerie Pecresse, the head of the Ile-de-France region, and the mayors of the towns served by the cable car.

The 4.5-kilometer route connects Creteil to Villeneuve-Saint-Georges and passes through Limeil-Brevannes and Valenton.

Historically used to cross rugged mountain terrain, such systems are increasingly being used to link up isolated neighborhoods.

"It's like skiing!" joked Ibrahim Bamba, a 20-year-old student who lives in Limeil-Brevannes which is not served by the Paris metro or any rail network.

"It's the Alps on the Marne!" said Pecresse, referring to the department of Val-de-Marne located in the Grand Paris metropolis.

The cable car will carry some 11,000 passengers per day in its 105 gondolas, each able to accommodate ten passengers.

The total journey will take 18 minutes, including stops along the way, compared to around 40 minutes by bus or car, connecting the isolated neighborhoods to the Paris metro line 8. A ride requires a bus ticket or travel pass used for the Paris metro.

"This is a great step forward in terms of transportation. The roads are often congested in the morning," said Salimatou Bah, 52, who has lived in Limeil-Brevannes for thirteen years.

"We wondered if people would be hesitant, but I think it just takes a little time to adapt."

- 'Urban divides' -

Pecresse said the project was the result of "a 10-year obstacle course."

"We had to find the funding, convince local residents," she said. "For the inhabitants of Val-de-Marne, it's a sign of consideration."

The 138-million-euro project was cheaper to build than a subway, officials said.

"An underground metro would never have seen the light of day because the budget of more than billion euros could never have been financed," said Gregoire de Lasteyrie, vice-president of the Ile-de-France regional council in charge of transport.

Each cabin can accommodate ten seated passengers as well as wheelchairs, bicycles, and strollers. Inside, video surveillance and emergency call buttons have been installed to ensure passenger safety in addition to staff at each station.

The cable car is a response to "urban divides" in neighborhoods that were "lacking in terms of public transport," said Metin Yavuz, mayor of Valenton, a town of 16,000 inhabitants.

It is France's seventh urban cable car, with aerial tramways already operating in cities including Brest, Saint-Denis de La Reunion and Toulouse.

France's first urban cable car was built in Grenoble, nestled at the foot of the Alps, in 1934. The iconic "bubbles" have become one of the symbols of the southeastern city.

Cable cars are considered one of the safest means of transport in the world.

In France, the last fatal accident occurred in 1999 in the Hautes-Alpes, when 20 people lost their lives.

Varieties

Before Megalodon, Researchers Say a Monstrous Shark Ruled Ancient Australian Seas

A illustration made in Sept. 3, 2025, of a gigantic 8 meter (26 foot) long mega-predatory lamniform shark swimming beside a long-necked plesiosaur in the seas off Australia 115 million years ago. (Pollyanna von Knorring/Swedish Museum of Natural History via AP)
A illustration made in Sept. 3, 2025, of a gigantic 8 meter (26 foot) long mega-predatory lamniform shark swimming beside a long-necked plesiosaur in the seas off Australia 115 million years ago. (Pollyanna von Knorring/Swedish Museum of Natural History via AP)
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Before Megalodon, Researchers Say a Monstrous Shark Ruled Ancient Australian Seas

A illustration made in Sept. 3, 2025, of a gigantic 8 meter (26 foot) long mega-predatory lamniform shark swimming beside a long-necked plesiosaur in the seas off Australia 115 million years ago. (Pollyanna von Knorring/Swedish Museum of Natural History via AP)
A illustration made in Sept. 3, 2025, of a gigantic 8 meter (26 foot) long mega-predatory lamniform shark swimming beside a long-necked plesiosaur in the seas off Australia 115 million years ago. (Pollyanna von Knorring/Swedish Museum of Natural History via AP)

In the age of dinosaurs — before whales, great whites or the bus-sized megalodon — a monstrous shark prowled the waters off what's now northern Australia, among the sea monsters of the Cretaceous period.

Researchers studying huge vertebrae discovered on a beach near the city of Darwin say the creature is now the earliest known mega-predator of the modern shark lineage, living 15 million years earlier than enormous sharks found before.

And it was huge. The ancestor of today’s 6-meter (20-foot) great white shark was thought to be about 8 meters (26 feet) long, the authors of a paper published in the journal Communications Biology said.

“Cardabiodontids were ancient, mega-predatory sharks that are very, very common from the later part of the Cretaceous, after 100 million years ago,” said Benjamin Kear, the senior curator in paleobiology at the Swedish Museum of Natural History and one of the study’s authors. “But this has pushed the time envelope back of when we’re going to find absolutely enormous cardabiodontids.”

Sharks have a 400-million-year history but lamniforms, the ancestors of today’s great white sharks, appear in the fossil record from 135 million years ago. At that time they were small — probably only a meter in length — which made the discovery that lamniforms had already become gigantic by 115 million years ago an unexpected one for researchers.

The vertebrae were found on coastline near Darwin in Australia’s far north, once mud from the floor of an ancient ocean that stretched from Gondwana — now Australia — to Laurasia, which is now Europe. It’s a region rich in fossil evidence of prehistoric marine life, with long-necked plesiosaurs and ichthyosaurs among the creatures discovered so far.

The five vertebrae that launched the quest to estimate the size of their mega-shark owners were not a recent discovery, but an older one that had been somewhat overlooked, Kear said. Unearthed in the late 1980s and 1990s, the fossils measured 12 centimeters (4.7 inches) across and had been stored in a museum for years.

When studying ancient sharks, vertebrae are prizes for paleontologists. Shark skeletons are made of cartilage, not bone, and their fossil record is mostly made up of teeth, which sharks shed throughout their lives.

“The importance of vertebrae is they give us hints about size,” Kear said. “If you’re trying to scale it from teeth, it’s difficult. Are the teeth big and the bodies small? Are they big teeth with big bodies?”

Scientists have used mathematical formulas to estimate the size of extinct sharks like megalodon, a massive predator that came later and may have reached 17 meters (56 feet) in length, Kear said. But the rarity of vertebrae mean questions of ancient shark size are difficult to answer, he added.

The international research team spent years testing different ways to estimate the size of the Darwin cardabiodontids, using fisheries data, CT scans and mathematical models, Kear said. Eventually, they arrived at a likely portrait of the predator’s size and shape.

“It would’ve looked for all the world like a modern, gigantic shark, because this is the beauty of it,” Kear said. “This is a body model that has worked for 115 million years, like an evolutionary success story.”

The study of the Darwin sharks suggested that modern sharks rose early in their adaptive evolution to the top of prehistoric food chains, the researchers said. Now, scientists could scour similar environments worldwide for others, Kear said.

“They must have been around before,” he said. “This thing had ancestors.”

Studying ancient ecosystems like this one could help researchers understand how today’s species might respond to environmental change, Kear added.

“This is where our modern world begins,” he said. “By looking at what happened during past shifts in climate and biodiversity, we can get a better sense of what might come next.”

Varieties

Move over Larry: Maximus the PM's Cat Grabs Belgium Spotlight

Larry the Downing Street cat is a global celebrity in his own right, with more than 900,000 followers on X. JUSTIN TALLIS / AFP/File
Larry the Downing Street cat is a global celebrity in his own right, with more than 900,000 followers on X. JUSTIN TALLIS / AFP/File
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Move over Larry: Maximus the PM's Cat Grabs Belgium Spotlight

Larry the Downing Street cat is a global celebrity in his own right, with more than 900,000 followers on X. JUSTIN TALLIS / AFP/File
Larry the Downing Street cat is a global celebrity in his own right, with more than 900,000 followers on X. JUSTIN TALLIS / AFP/File

It is no secret that a tabby named Larry wields considerable power in Downing Street. Now in Belgium, a rescue cat named Maximus has shot to social media stardom as bewhiskered sidekick and PR weapon of Prime Minister Bart De Wever.

Taken in from a shelter by the Flemish conservative leader over the summer, the grey fluffball has become a fixture on Instagram -- snapped batting at string or lolling around in the boss's office.

But while Larry has risen above politics as Chief Mouser to six British prime ministers, the adventures of De Wever's four-legged friend come with a dose of salty commentary on Belgium's turbulent public life, said AFP.

Cartoon bubbles have captured Maximus musing sardonically -- in Flemish -- on everything from the country's long-running budget showdown to strikes over his boss's austerity measures, or a new voluntary military service for young Belgians.

'Maximus, can you catch a drone?'

Less than six months after his account went live in July, Maximus has caught up with his master when it comes to Instagram followers.

The account name -- @maximustp16 -- stands for "Maximus Textoris Pulcher", a cryptic reference to that of his boss, which means "The Weaver" in Dutch.

Those in the know say the fel-influencer's posts are put up by the prime minister's personal assistant.

But the Belgian leader -- known for his deadpan sense of humor -- is also pretty prolific online, and regularly cross-posts with the cat's account when he wants to strike a lighter note.

Since taking office in February, De Wever has posted a whole series of vignettes of himself with Maximus, pushing him in a stroller or taking a nap by his side.

His first response in October to the news of a foiled plot to attack him using drone-mounted explosives?

A post showing the prime minister and reclining cat with the cartoon caption "Maximus, can you catch a drone?"

"No -- but I'm catching dreams like no one else!" the mog replies.

'Noise and hot air'

All good fun, but what is the strategy at work?

For political analyst Dave Sinardet the spoof account is chiefly a way for the 54-year-old De Wever to freshen up his public image -- and show he does not take himself too seriously.

"It's a smart way to do political PR," said Sinardet, a university professor in Brussels. "It makes politicians seem friendlier, gentler -- considering that most people see them as rational, even arrogant figures."

The Flemish nationalist faces an uphill challenge -- under fire from left-wing parties who accuse him of unpicking social protections with rolling strikes and protests targeting his government all year.

Deploying pets as political PR assets is nothing new: every US president in history, with the exception of Donald Trump, has posed with animals at the White House.

Larry the Downing Street cat is a global celebrity in his own right, with his @Number10cat account on X boasting almost 900,000 followers.

But De Wever's posts with Maximus are not to everyone's liking at home.

A video of the prime minister pretending to play "Amazing Grace" on the bagpipes -- the pipe being Maximus's tail -- during tense budget talks had the opposition hissing.

"Quite the summary of their politics: noise and hot air," snapped the socialist lawmaker Patrick Prevot.