Born in Cairo on 22 April 1965, Anwar hails from a prominent artistic family. Her father was the writer Anwar Abdullah, while her mother was the late actress Souad Hussein. Growing up in an environment that nurtured creativity, she studied at Cairo University, graduating from the Faculty of Arts with a degree in French literature.
Her artistic career began on stage in 1980 with the play Qanoun Al-Hob (The Law of Love), written by her father. She made her cinematic debut in the 1984 film Al-Laylah Al-Maw’oudah (The Promised Night) alongside Ahmed Zaki and Farid Shawki, and in Bait Al-Qasirat (House of Minors, 1984) with Mahmoud Abdel Aziz.
A passionate athlete from an early age, Anwar previously won the Egyptian national swimming championship at El Zamalek Sports Club, a discipline that gave her remarkable physical fitness.
That athleticism opened the door to a series of action films early in her career, with directors often casting her in high-octane roles. Notable among these were Al-’Isaba (The Gang, 1987), Al-Sajeenataan (The Two Prisoners, 1988), and Haalat Talaboss (Caught Red-Handed), directed by cinematic legend Henry Barakat.
Her breakthrough came with the iconic Ze’ab Al-Jabal (Wolves of the Mountain, 1993) and Zizinia (1997). She also left her mark on Egypt’s beloved Ramadan riddles, starring in the 1994 Ehna Fein? (Where Are We?) Fawazeer alongside Samir Sabry and Sherine Seif El-Nasr.
Challenges and resilience
Anwar’s path was not without hardship.
In 1998, a car accident changed her life. She underwent 42 surgeries under general anaesthetic over 11 years and spent several years in a wheelchair, inevitably affecting her artistic presence. Yet her resilience and commitment kept her bound to her craft.
In the 2000s, she worked with some of Egypt’s most celebrated directors, including Yousry Nasrallah on Genenet Al-Asmak (The Aquarium, 2008) and Mohamed Sobhi in the popular Yawmiyat Wanis (Wanis’s Diaries). In 2011, she made her directorial debut with the Kuwaiti drama Baqaya Gurooh (Remnants of Wounds), produced by Fajr Al-Saeed.
She later played a formidable mother-in-law in the 2022 series El-Layla Wal Li Fiha (The Night and What It Holds), and most recently starred in Catalogue (2025).
Perspectives...
Unlike many celebrities who use social media to promote their work and share glimpses of their private lives, Anwar’s Facebook page stands out for its focus on self-development. She regularly posts videos designed to inspire and motivate her audience.
Her posts have become a beacon of strength and creativity in Egyptian entertainment, the voice of a woman who has not only witnessed the industry's evolution but also helped shape it through courage, talent, and indomitable spirit.
Her accident, and the perspective it brought, gave her a clearer view of the changes reshaping the field.
“Today’s cinematic world relies more heavily on young actors, simply because most of its audience are young people,” she told Ahram Online.
She recognizes, however, that cinema is both an art and a business: “My generation is no longer a top priority for directors. That’s not a criticism; I fully understand the dynamics. Today, movie production relies heavily on box-office success, which in turn depends on the success of younger stars. Even when a box-office star continues to appear in films, as they grow older, their impact lessens—apart from iconic names like Adel Emam, Faten Hamama, or Soad Hosny.”
In an age where audiences binge-watch series and scroll past art, Anwar offers a sober take on nostalgia and mass production. “There’s an overwhelming number of artistic works, in both drama and cinema, and countless channels and now streaming platforms as well,” she says. “As soon as a viewer finishes one show, there are thousands more lined up. So how can anyone form a lasting connection?”
For Anwar, nostalgia must not hinder growth. “Some people still cling to the past and resist change. Nostalgia is a human feeling, but development is essential,” she says, adding that she doesn’t like comparing old with new. “I believe in constant evolution and change.”
Reflecting on a time when “we had only two TV channels,” Anwar recalls a more focused artistic landscape but embraces today’s technology. “Now we carry cinema, television, journalism, and social media in our pockets,” she says.
“Everything I once hoped for has already come true. I always wished we would catch up with the era of technology, and now we have. In the past, high-quality cameras and sound equipment were only available in Europe, and we didn’t use them, even though we had great artists. Today we are on par with international standards, and I’m truly happy about that. We must keep moving forward like other societies.”
Having watched the medium evolve from stage to VHS to digital streaming, Anwar remains a student of her craft. “Watching was, and still is, a form of study for me. Since childhood, I used to go to video clubs to rent tapes. Today, accessibility is easier. I watch all kinds of dramas: Egyptian, Turkish, Lebanese and international, in addition to films.”
She expresses no objection to remakes of international productions: “As long as the intent is artistic, not imitative. Art is freedom and vision. It should be approached as a unique experience, not compared to others. In fact, many of the classic works we love were themselves remakes of even older productions.”
She is more cautious about sequels: “Some works can have a second part, others can’t. It depends on the fabric of the story itself. For instance, until today people keep calling for a sequel to The Mountain Wolves (Ze’ab El-Gabal, 1993), despite three decades having passed since its release. But I’m against that idea. I don’t think it lends itself to a second part.”
Directed by Magdy Abu Emira and featuring Anwar alongside Abdallah Gheith, Ahmed Abdelaziz, Sherif Mounir, and Wael Nour, The Mountain Wolves remains one of her iconic early works, cementing her reputation as a versatile actress.
Relevance on her own terms
Samah Anwar’s story is not only about survival, it is about choosing relevance on her own terms. Whether on screen or behind the camera, in the heyday of broadcast drama or in the age of streaming, she continues to honour the craft, the audience, and herself.
“I don’t believe it’s my place to give advice. Life is about experiences, and it’s those experiences that teach. What doesn’t suit me might work perfectly for someone else,” she says, voicing a personal rhythm that runs counter to today’s fast-paced industry.
Her love for cinema has never waned.
She is now preparing for her next role in En Ghab Al-Qett (When the Cat is Away), a film written by Ayman Wattar and directed by rising filmmaker Sara Noah, due for release in November. Starring alongside Carmen Bsaibes and Asser Yassin, Anwar is content with her choice: “I accepted the role because I found it truly suited me.”
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