‘Social Drama is My Preference’: Anoushka Tells Asharq Al-Awsat

Anoushka.
Anoushka.
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‘Social Drama is My Preference’: Anoushka Tells Asharq Al-Awsat

Anoushka.
Anoushka.

Egyptian artist Anoushka revealed she’s “preparing to boost her work as a singer by launching her own YouTube channel to archive her works, concerts and new songs.”

“Artists should record their history and keep up with the changing mechanisms of our time,” she told Asharq Al-Awsat.

Although she partook in successful Ramadan dramas such as ‘Grand Hotel’, ‘Naguib Zahy Zarkash’, and ‘Rageen Ya Hawa’, Anoushka sees that “this type of works pressures the artist with over 16-hour shootings per day so they can commit to their work and fans.”

About her interest in acting more than singing, Anoushka said: “In fact, I had a hard time with my father, and the dates of concerts weren’t convenient for me. I have always believed in art, but my parents need me and this is my top priority. Finally, I have returned to singing, and I am currently preparing my YouTube channel, new music videos, and concerts. I missed seeing my audience live in concerts.”

“We are lucky because we have an outlet to record our works, an opportunity that the previous artists never had. A song is not the work of the singer alone, there are composers and musicians that must be mentioned, especially since the tape era ended and there are no covers to record the names of composers and musicians anymore. New technologies have dominated the sector. In spite of that, I didn’t totally abandon singing, I presented new songs in the ‘Salon Anoushka program,” she said.

“I enjoyed the program and the interaction of the audience so much. It compensated for my longing for stage performance. I presented three seasons of the program, a total of 36 episodes, in which I hosted many stars from Egypt and the Arab world. I also performed my own songs, which made me feel close to singing. But this doesn’t mean I didn’t miss my fans, and this is why I am currently preparing for a concert. Meeting the audience on stage is a completely different thing,” Anoushka added.

“I am considering work for the coming Ramadan season. I feel happy to be present in Ramadan, but those are usually hectic and cause serious pressures. Ramadan is a special time on TV, but there are many great productions that are being made at other times of the year and don’t cause the same amount of pressure,” she added.

“It’s the message of the work I present. It must hold a new message or lesson to the audience. I prefer myself in social dramas that highlight social causes in a real and credible way,” she said about her selection of the works she partakes in.

“I try my best to focus on presenting different characters. I often receive offers to play the role of the elegant, rich woman, but I try to highlight different traits in the characters with the help of the director,” she explained, adding that “no one succeeds alone. The director should have an inclusive view of the work, so the actor must discuss their role with them to understand the dimensions of their character.”

About the success of ‘Rageen Ya Hawa’ and the award it bagged as the best comedy work at the Cairo International Festival, Anoushka said “It’s a social work like all the other works of late Osama Anwar Okasha, which include many dramatic lines, emotions, comedy, and highlights of the importance of family in our life.”

“I remember the late novelist nominated me for a series directed by Yahya al-Alamy, but I apologized at the time because I couldn’t play the role of a mean woman. When we discussed the role, I felt like I was talking with my father. But at the time, I didn’t make the right judgment, I didn’t understand how someone could be mean,” she added.

About her focus on cinema following her strong cinema debut in the ‘Mr. K’ film directed by Salah Abu Seif, Anoushka said: “Because I’m a singer, I focused on singing, and directors didn't select singers for major roles. But I was lucky to work with this esteemed director and his team which included stars like Sanaa Jamil and Abdel Moneim Madbouly. I remember Director Abu Seif once said in an interview (I want to tell Anoushka that she has an actress inside her. She has to let her out). This phrase gave me a lot of confidence.”

“I am open to cinema, and look forward to new experiences especially in the meantime with all the developments in the industry,” she concluded.



Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
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Movie Review: In ‘Deadpool & Wolverine,’ the Superhero Movie Finally Accepts Itself for What It Is 

Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)
Hugh Jackman and Ryan Reynolds attend the premiere of "Deadpool & Wolverine" in New York City, New York, US, July 22, 2024. (Reuters)

If one thing is certain about “Deadpool,” it’s that its titular hero, for reasons never explained, understands his place in the world — well, in our world.

Indeed, the irreverent and raunchy mutant is sure to belabor his awareness of the context in which he lives — namely an over-saturated, increasingly labyrinthine multibillion-dollar Marvel multiverse which spans decades, studios and too many films for most viewers to count.

From its inception, the “Deadpool” franchise has prided itself on a subversive, self-aware anti-superhero superhero movie, making fun of everything from comic books to Hollywood to its biggest champion, co-writer and star, Ryan Reynolds.

It’s no surprise then, as fans have come to expect, that the long-anticipated “Deadpool & Wolverine” further embraces its fourth wall-breaking self-awareness — even as it looks increasingly and more earnestly like the superhero movie blueprint it loves to exploit. That tension — the fact that “Deadpool” has called out comic book movie tropes despite being, in fact, a comic book movie — is somehow remedied in “Deadpool & Wolverine,” which leans into its genre more than the franchise’s first two movies.

Perhaps this gives viewers more clarity on its intended audience. After all, someone who hates superhero films — I’m looking at you, Scorsese — isn’t going to be won over because of a few self-deprecating jokes about lazy writing, budgets for A-list cameos and the overused “superhero landing” Reynolds’ Deadpool regularly refers to.

But this time around, director Shawn Levy — his first Marvel movie — seems to have found a sweet spot. Levy is surely helped by the fact that the third film in the franchise has a bigger budget, more hype and, of course, a brooding Hugh Jackman as Wolverine.

That anticipation makes their relationship, packed with hatred and fandom, all the more enticing. Their fight scenes against each other are just as compelling as their moments of self-sacrificial partnership in the spirit of, you guessed it, saving the world(s).

Speaking of worlds, there is one important development in our own to be aware of ahead of time. The first two “Deadpool” films were distributed by 20th Century Fox, whose $71.3 billion acquisition by the Walt Disney Co. in 2019 opened the door for the franchise to join the Marvel Cinematic Universe.

Perhaps unsurprisingly, “Deadpool & Wolverine” takes full advantage of that vast playground, which began in 2008 with Robert Downey Jr.’s “Iron Man” and now includes more than 30 films and a host of television shows. The acquisition is also a recurring target of Deadpool’s sarcasm throughout the movie.

Although steeped in references and cameos that can feel a bit like inside baseball for the less devoted, “Deadpool & Wolverine” is easy enough to follow for the casual Marvel viewer, though it wouldn’t hurt to have seen the first “Deadpool” and Jackman’s 2017 “Logan,” a harbinger of the increasing appetite for R-rated superhero violence. The Disney+ series “Loki” also gives helpful context, though is by no means a must watch, on the Time Variance Authority, which polices multiverse timelines to avoid “incursions,” or the catastrophic colliding of universes.

A defining feature of “Deadpool” has been its R rating and hyper violent action scenes. Whether thanks to more money, Levy’s direction or some combination of the two, these scenes are much more visually appealing.

But “Deadpool & Wolverine” does succumb to some of the deus ex machina writing that so often plagues superhero movies. Wade Wilson’s (the real identity of Deadpool) relationship with his ex (?) Vanessa is particularly underdeveloped — though it’s possible that ambiguity is a metaphor for Deadpool’s future within the MCU.

The plot feels aimless at points toward the end. One cameo-saturated battle scene in particular is resolved in a way that leaves its audience wanting after spending quite a bit of time building tension around it. While there are a few impressive stars who make an appearance, audiences may be disappointed by the amount of MCU characters referenced who don’t make it in.

The bloody but comedic final fight scene, however, is enough to perk viewers back up for the last act, solidifying the film’s identity as a fun, generally well-made summer movie.

The sole MCU release of 2024, “Deadpool & Wolverine” proves it’s not necessarily the source material that’s causing so-called superhero fatigue. It also suggests, in light of Marvel’s move to scale back production following a pandemic and historic Hollywood strikes, that increased attention given to making a movie will ultimately help the final product.