The 45th Cairo International Film Festival featured a strong presence of Egyptian films across various programmes and competitions: the award-winning film Abu Zaabal 89 by Bassam Mortada in the Critics Week competition, Who’d Believe It? by Zena Abdel-Baky in the Horizons of Arab Cinema competition, several Egyptian short films, and a special programme showcasing recent Egyptian shorts out of competition. But Spring Came on Laughing stood out as the only Egyptian entry in the prestigious International Competition. The film received widespread acclaim from both critics and the audience, winning several awards. It marks the impressive feature film debut of Noha Adel as both director and writer, highlighting her distinctive storytelling style and remarkable ability to craft deeply emotional, compelling narratives.

In 2017, Noha Adel took her first steps in the world of filmmaking with her debut short film, Into Reverse. Created as part of a three-month workshop on the basics of filmmaking, it marked the beginning of the journey that would culminate in Spring Came on Laughing, a film that has now garnered many prestigious awards.

Into Reverse was a modest production, running for less than 15 minutes, but it reflected Noha’s ability to captivate an audience through its simple yet effective storytelling. The plot revolves around an everyday situation in the busy streets of Cairo, a woman stubbornly refusing to reverse her car, causing a traffic jam that leads to a series of comedic, revealing moments. The film was, at its core, a social comedy sketch, but what set it apart was Adel’s keen observation of human behaviour, her eye for detail, and her ability to draw out humour from a simple, relatable scenario.

Despite its lighthearted nature, it served as an important stepping stone for Adel, offering a glimpse of the filmmaking style that would later define her work. In particular, the film revealed her exceptional talent for managing large groups of actors, especially in outdoor shoots. At that point, Adel had no practical experience in filmmaking, but her natural ability to direct and guide actors was already apparent. This skill would later manifest in her second short film, Once Upon a Time in the Café, and ultimately in her first feature film, Spring Came on Laughing.

One of Adel’s remarkable strengths as a director is her ability to work with first-time actors in all her films. In Spring Came on Laughing, she relied on individuals who had never appeared in a film before. From the lead roles to supporting characters, the performances were engaging and authentic. This ability to extract natural, impassioned performances from newcomers is a rare skill that demonstrates her unique approach to directing. She doesn’t rely on the artifice of forced performances. Instead, she draws out real emotion, making each character’s presence on screen feel genuine.

Adel’s films are known for their sharp, impactful dialogue. In Once Upon a Time in the Café, for example, the story begins with a casual conversation among football fans watching a match at a café. What starts as a light-hearted exchange soon intensifies, driving the narrative forward while uncovering the complexities of the characters. Dialogue is the cornerstone of Adel’s cinematic style. She has a unique ability to take a simple conversation and transform it into an emotional powerhouse, gradually peeling back layers to reveal deeper truths. This technique is also evident in Spring Came on Laughing, where everyday conversations evolve into powerful narrative moments, revealing hidden emotions and complexities.

Adel is not the type of filmmaker who relies on heavy symbolism or hidden meanings. Instead, she draws the audience into ordinary situations, where the characters feel familiar and the setting unremarkable. Yet, as the narrative unfolds, it becomes clear that there is more beneath the surface. It’s this gradual evolution that makes her work so compelling. She invites the audience to witness the transformation of seemingly mundane moments into powerful revelations of character.

Although Adel does not describe herself or her films as feminist, there is an undeniable female perspective woven across her work. This is particularly evident in her second film, Once Upon a Time in the Café, which centres on football, a traditionally male-dominated subject. Even in the context of a topic that is largely associated with men, her filmmaking reveals a nuanced, thoughtful, and at times instinctive viewpoint as a woman. This perspective is subtle yet potent, and it shapes the way she portrays characters and their relationships. For Adel, it’s not about forcefully injecting a feminist message, but rather allowing her female lens to inform how the stories unfold.

With these elements in mind, it is clear that Adel’s debut feature film, Spring Came on Laughing, is a natural progression in her filmmaking journey. The film tells the story of four intertwined narratives set against the backdrop of spring. The film has already garnered significant recognition, winning four prestigious awards at the 45th Cairo International Film Festival: the Henry Barakat Award for Best Artistic Contribution awarded to Noha Adel, the International Federation of Film Critics (FIPRESCI) Prize, the Salah Abu Seif Award for Best Director from the Horizons of Arab Cinema, worth $7,000, and a Special Mention for Actress Rehab Anan for her role in Spring Came on Laughing.

For Adel, the film is a personal journey that began in 2019 with a collection of fragmented short stories that had been haunting her. “This film is a profound leap of faith,” she says. “I had no idea how those stories would fit together, but I was driven by a need to tell them. Slowly, I saw how they could bloom into something meaningful.”

Spring is more than just a season of renewal. “It’s a time of unpredictability,” she says. “While many associate spring with joy, for me it’s a season of contradictions: storms, torrential rains, and truths revealed. It’s this cruel beauty that inspired this film.” These contradictions are reflected in the characters and the stories that unfold within. Adel doesn’t shy away from complexity; she embraces it, offering a layered and nuanced portrayal of human emotions and relationships.

Reflecting on the themes of Spring Came on Laughing, Adel recognises that the film naturally gravitates towards women’s stories, even though she didn’t intentionally seek out feminist undertones. “The stories gravitated towards the lives of women,” she admits. “It was important for me to experience this film through their eyes.” And it’s through the eyes of women that her vision comes to life, as the film explores deeply personal experiences and societal themes, uncovering hidden truths along the way.

Adel credits her inspiration for the film to the haunting words of Egyptian poet Salah Jaheen:

“Spring came on laughing, yet found me sad,
 Spring called my name, but I didn’t answer,
 Spring placed its flowers by my side,
 What good are spring flowers to the dead?”

Those words encapsulate the essence of the film, reflecting the complex emotions that Noha seeks to explore through her storytelling.

In addition to Adel’s remarkable vision, Spring Came on Laughing owes much of its success to its all-female production team. Co-producer Kawthar Younis has been a key collaborator in bringing the film to life. “From the very beginning, Adel’s passion inspired me,” Kawthar shares. “Despite numerous obstacles, she fearlessly pursued her vision, and that fuelled my own commitment to the project. What started as helping a friend out quickly turned into a profound collaboration, and I’m honoured to have worked alongside such a visionary director.”

The team also includes director of photography Sara Yehia and editor Sara Abdallah who, like Adel, bring a deep understanding of the female experience to their work. This all-female team worked together to create a film that offers a platform for female voices and challenges societal expectations.

“We wanted to give a platform to female voices, highlighting their struggles and triumphs in a world that often overlooks them,” Kawthar explains. “By focusing on women’s experiences, we hope to promote more inclusive representation in the industry.” The film, according to Kawthar, is not only about breaking barriers but also about fostering understanding. “Through exploring vulnerability and contradiction, we hope to create a lasting impact and foster greater empathy in society.”

For Adel and her team, Spring Came on Laughing represents a leap forward not just for the film industry, but for the portrayal of women in film. It’s a project that challenges perceptions, tackles complex emotions, and invites audiences into a world where the contradictions of life are laid bare. And, for Noha, this journey is just beginning. As she continues to push boundaries and tell stories that matter, Spring Came On Laughing stands as a testament to her talent, resilience, and vision for the future of filmmaking.

With its dark humour, complex characters, and emotionally resonant storytelling, Spring Came on Laughing is poised to make a lasting impression. It’s a film that not only pushes the boundaries of cinema but also has profound emotional resonance, sparking conversation and igniting emotions long after the credits roll.

* A version of this article appears in print in the 28 November, 2024 edition of Al-Ahram Weekly