Moderated by Egyptian filmmaker Maggie Morgan, the panel discussion brought together CIFF President Hussein Fahmy, director Tamer El-Said, head of the Berlinale Forum Expanded programme Stefanie Schulte Strathaus, and sound specialist and filmmaker Ossen El Sawaf.
Aligned with the festival’s ongoing efforts to restore classics, the seminar examined how technology is enabling filmmakers, archivists, and institutions to preserve and revitalise the rich cinematic heritage of the Arab world.
The panel examined the delicate balance between technology and artistry, demonstrating how digital restoration is both a technical and cultural endeavour. It highlighted not only the challenges of restoring deteriorated reels and audio but also the responsibility of maintaining the films’ authenticity, reflecting the moment in which they were originally produced.
More than 20 restored classics in CIFF
Fahmy opened the discussion by pointing to the vital role of restoration in safeguarding Egypt’s cinematic heritage.
"All restored films have been provided with subtitles so that as many international guests as possible can watch and understand them," he said, referring to more than 20 Egyptian cinema classics screened in this year’s CIFF edition - 10 of them being the newest additions to the restored repertoire.
Fahmy addressed a recurring question about colourisation, a controversial topic in film restoration, underlining that "films should remain as they are: black and white. These directors created their works in this form, and colourisation has not been successful globally. Audiences love and watch these films in their original state, and we must preserve them this way." He stressed the importance of being committed to authenticity and the original artistic vision of the filmmakers.
Reflecting on his own experience in the field, Fahmy recounted, "I found hundreds of films needing restoration. These films carry immense cultural and national value, and it was essential to restore them. Alongside cinematographer Mahmoud Abdel Samie, we formed a team dedicated to this effort."
He emphasized that the restoration process prioritises a film’s historical and artistic significance, citing films such as Between the Two Palaces (directed by Hassan El-Emam, 1964), A Crime in a Quiet Neighborhood (Hossam El-Din Mostafa, 1967), The Lamp of Umm Hashim (Kamal Attia, 1968), A Taste of Fear (Hussein Kamal, 1969), and many other classics that form the backbone of Egypt’s visual heritage.
Fahmy also reflected on films that are still in the process of restoration, including Shafika the Coptic Woman (1963) by Hassan El-Emam, starring Hend Rostom. "We didn’t have enough time to complete it before the festival."
Restoration as a cultural act
Tamer El-Said, co-founder of the Cimatheque Alternative Film Centre, commented on the technical and cultural dimensions of restoration. He emphasised that the process goes beyond technical work.
"Restoration is an activation of heritage and a creation of dialogue around it. Traditionally, Arab films were restored in Western institutions, which were linked to reclaiming and controlling the narrative. In our view, restoration is a cultural act through which we reclaim the narratives of our own culture," El-Said commented.
He also explained that participants in restoration workshops begin by working with the raw film to understand its nature before moving to the digital stage.
"I noticed many Arab films had their audio restored by non-Arab experts, which sometimes led to mispronunciations due to language differences, affecting the dialogue itself,” he said.
Discussing specific projects, El-Said shared insights into their efforts to restore the works of the late director Youssef Chahine.
"We have partnered with Misr International Films to restore four of his films. Three of them had been restored before but poorly: The Return of the Prodigal Son (1976), An Egyptian Story (Hadoota Masreya, 1982), and The Sparrow (1972), which we are restoring for the first time."
He highlighted the meticulous attention required in restoring films like The Dislocation of Amber, a 1975 film by the renowned Sudanese filmmaker Hussein Shariffe.
"Each scene in this film was carefully designed with a distinct colour palette. It required significant effort and gathering all the original sources to ensure accurate restoration," he revealed.
El-Said also spoke about the broader initiative Boubina, which aims to restore historically significant films from across the Arab region, including works by the late director Atteyat El-Abnoudy (1939-2018), the groundbreaking Egyptian filmmaker, also known as the "ambassador of documentary cinema" for her work on the lives of the poor and working class. This project is facilitated by technological advancements, allowing even films from the 1920s to be improved and preserved for future generations.
Preserving vision and integrity
In turn, Ossen El-Sawaf emphasised the cultural responsibility of restoration. Echoing El-Said's thoughts, he stated that the process is "not just a technical skill but a cultural work."
El-Sawaf also pointed to the restorer’s appreciation of the film’s visual value, saying that "those involved in the process must understand the imagery and aesthetic intent of the original work, ensuring that restored films retain their narrative and artistic integrity."
Stefanie Schulte Strathaus contributed to the discussion on collaborative approaches, highlighting the importance of international partnerships while respecting the cultural and artistic context of each film.
She emphasised that true collaboration involves reciprocal knowledge exchange, arguing that Western institutions must learn from Arab experts to ensure the restored work accurately reflects the original cultural and linguistic nuances, rather than imposing external standards.
Cairo International Film Festival
The 46th edition of the CIFF runs from 12 to 21 November.
This year’s edition examines the shifting landscape of the global film industry, while holding fast to the festival’s mission as a meeting point between Egypt, the Arab world, and the international community.
The festival places importance on renewing the dialogue between legacy and innovation.
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