I couldn't stand the bombardment of the publishers and the theaters. I knew it was a mess, but I couldn't help but watch it. Having traveled through all the countries in North Africa and the Middle East except Yemen, Libya and Syria, I have to feel that this film is a ridiculous peeping tom that completely satisfies the Western liberal elite's fantasy of the Arab world. It's more like the director patted his head after hearing some gossip news about finding this material at the greasy uncle party. In order to please sponsors and liberal elites in the cultural world, he imposed 11 years of events as the background. But it seemed very stiff.
The movie I saw was in French, so the whole movie was played, maybe it would have been much better in Arabic at the time. Egypt is the only non-French colony in North Africa, and it is also an Arab country with little connection with France. The French dialogue and the occasional French print make it completely impossible to play. In addition, the actors themselves are not very Egyptian, and the Lebanese looks are the most distinctive in the Middle East. Faris can't support my impression of the Egyptian uncle, and the various group performances in Morocco have made my memory of Egypt Beat to pieces.
The title is Nile Hilton, and the eyes are full of palm trees in Casablanca. Since it is a fictional adaptation of the story, but we don't give our Ramses Hilton a close-up of the penthouse suite overlooking the Nile River, why bother to hack the Hilton, can't hack the Fairmont or Kempinski next to it to show it Are the occupants of a higher rank? I really feel sorry for Hilton. Forget it, anyway, the Egyptian hotel hasn't been higher since 11 years, and it can't be red without a movie. It may be that the director, Grandma Agatha, has read too much. The detective story that happened in Egypt must have the word Nile to consecrate it. Although the crew may have tried their best, the white-walled street scene in Casa is really too different from Cairo, so the basic driving scene can only blur the street to an infinite extent, but there are occasionally road signs and Moroccan flags that come into view. Probably can only rely on more Egyptian flags and Mubarak in indoor plays to make up for it.
In terms of screenwriting, the entire 11 incident is basically dispensable, more like a tough stroke at the end (maybe it’s black). The arrangement of black characters is to learn from Hollywood political correctness. However, in Egypt, where racial discrimination was almost equivalent to the affirmative action law in the United States, black people working in five-star hotels (especially cleaning, with the emphasis on the word "clean"), or being the boss of the street, were simply ignoring the reality of Egyptian society.
The character settings are masked, and the two-hour movie has no depth and no transformation. Especially the male protagonist, the police station in a corrupt society at this age does not know how to deal with power and money, which is too distorted. Such a story holds true in any corrupt country.
The shooting techniques are quite satisfactory, and it is not a bad film, but there is basically nothing remarkable about it. If it hadn't satisfied the Western world's voyeuristic desire for the Arab world that dared not set foot in the Arab world, and the Arab Spring and the subsequent political turmoil had always been defined by the Western world as the awakening of the Arab people and the favorite taste of the Arab people was just catered to by the director, this film would not be at all. Deserving of today's box office and the very creepy Sundance affirmation.
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