Tarek Lotfy was born in November 1965 in the city of Mansoura. He graduated from the Higher Institute of Theatrical Arts in 1990, where he studied acting and directing, before beginning a career spanning more than three decades.
Lotfy began his acting career in television with Al-Wassiya (The Bequest, 1990) and gained further recognition in Layali Al-Helmeya (Helmeya Nights, 1992). His cinematic debut came in Blood on the Asphalt alongside Nour El-Sherif, directed by the late Atef El-Tayeb.
Over the years, he has worked with many of Egypt's leading actors, including Nour El-Sherif, Mahmoud Abdel Aziz, and Yehia El-Fakharany, while collaborating with acclaimed directors such as Atef El-Tayeb, Ismail Abdel Hafez, Mohamed Yassin, and Ahmed Khaled Moussa.
His film credits include Saeedi at the American University (1998), First Love (2001), and About Love and Passion (2006). On television, he starred in acclaimed series including Morning and Evening Conversations (2001), Truth and Mirage (2003), Sarah (2005), and Life Story (2013).
Lotfy later established himself as a leading television star through After the Beginning (2015), Birth Certificate (2016), Between Two Worlds (2017), and Cairo Kabul (2021), where his portrayal of Sheikh Ramzi became one of the most celebrated performances of his career.
He followed this with another acclaimed role as Khaldoun in Geziret Ghamam (2022), before appearing in A Husband's Memoirs (2023) and both seasons of Al-Atawla, further demonstrating his versatility across genres and characters.
Away from the spotlight, Lotfy married outside the artistic community and is the father of three children: Sherif, Leila, and Yassin. He has consistently kept his family out of the public eye and spoken openly about the profound impact of his mother's death, revealing that her passing led to a prolonged period of depression.
Ahram Online (AO): Do you still prefer having your work broadcast on satellite television, or are you waiting for the right streaming project?
Tarek Lotfy (TL): I do not doubt that digital platforms are the future, while traditional satellite television will gradually decline. We are already seeing TV channels evolve into subscription-based streaming services, with some news broadcasters also exploring free digital platforms.
I have been offered several streaming-exclusive drama projects, but declined them because some platforms are not yet investing enough in original productions, which can affect quality.
Others, however, are committing significant budgets and are likely to become as influential as major television networks once were. I am therefore selective about streaming projects and am currently preparing a major new production with writer Abdel Rahim Kamal for release on a streaming platform.
Digital platforms also operate under different regulatory systems, making it possible to tackle bolder subjects and portray more challenging characters while giving actors greater scope to experiment and perform a wider range of roles.
AO: You have starred in leading and ensemble productions, from Al-Atawla and A Husband's Memoirs to Geziret Ghamam and Cairo Kabul. After more than three decades in the industry, how have your criteria for choosing roles evolved?
TL: Above all, acting is a collective endeavour, whether it is a leading role or an ensemble production. What matters to me is the quality of the work, its impact on audiences, and whether the character offers something new, both for viewers and for me.
When I played Khodr in Al-Atawla, many people were surprised to see me portraying such a popular street character. That surprise was one of the reasons the experience proved so successful. Renewal, therefore, remains the primary criterion behind my choices, alongside the strength of the story on which the work is built.
AO: You refused to participate in the third season of Al-Atawla, correct? And you were even against producing a second season?
TL: I do not favour dividing television dramas into multiple parts. However, there was considerable insistence from the producers, the creative team, and the broadcasting channel, especially after the tremendous success of the first season, so I eventually agreed.
I see that for viewers, the element of surprise is born with the first season and concludes with its final episode. Subsequent seasons are, in most cases, a continuation of the story rather than a fresh discovery of the characters.
Take Khodr in Al-Atawla, for example. Audiences came to know every aspect of his personality during the first season, his manner of speaking, his movements, and even the way he dressed. By the second season, that initial sense of surprise had inevitably faded.
AO: You ventured into pan-Arab drama with Laylat Al-Suqout (The Night of the Fall), which depicts the occupation of Mosul by ISIS. Do you believe Arab drama has succeeded in addressing conflict and terrorism without falling into oversimplification or exaggeration?
TL: In some productions, particularly those dealing with terrorism, a degree of simplification is necessary, and I sometimes believe it serves the audience’s interest. Presenting the full reality, with all its details, would be extremely painful and difficult for viewers to endure.
That was precisely the case with The Night of the Fall. The events were simplified while preserving their essence.
AO: You previously portrayed Sheikh Ramzi in Cairo Kabul (2021), a role that was widely acclaimed, before appearing in The Night of the Fall (2023). Both productions belong to the genre of conflict drama. Did the success of the first encourage you to repeat the experience?
TL: The two productions convey the same message, but through different characters. Cairo Kabul remains one of the closest works to my heart.
What matters to me is always portraying a new character, even if the underlying message is similar.
I consider Sheikh Ramzi one of the most complex characters I have portrayed, as he goes through numerous stages and transformations. The purpose of the series was to shed light on extremist ideology rather than on the individual himself.
AO: Over the years, you have portrayed a wide variety of characters, from action roles in Birth Certificate to social drama in A Husband’s Memoirs, popular drama in Al-Atawla, and productions centred on conflict and terrorism. Which roles do you feel closest to?
TL: I am always drawn to roles that offer something new and leave a lasting impression on audiences.
Renewal is my foremost criterion, followed by the idea behind the project, the strength of its story, and the production itself.
AO: Despite the importance of social media for actors today, your presence on these platforms remains relatively limited. Why is that?
TL: That is true. I have never been particularly active on social media because I still do not feel entirely comfortable using it.
Many actors employ professional companies to manage their accounts. About a month ago, I decided to pay more attention to my official page and asked someone to manage it, and it has since become much more active.
At the same time, I am against becoming obsessed with social media or constantly sharing the details of one’s daily life. I prefer to limit what I post to promoting my artistic work while keeping my private life out of the public eye.
AO: Throughout your career, you have worked alongside many of Egypt’s leading actors and directors. Who has had the greatest influence on shaping your artistic outlook?
TL: The late director Atef El-Tayeb and director Ismail Abdel Hafez.
At the beginning of my career, Atef El-Tayeb believed in me deeply. He treated me like a younger brother, or even a son, and supported me both personally and professionally.
In truth, I have benefited from everyone I have worked with, whether they were legendary stars or young actors.
I learned a great deal from masters such as Nour El-Sherif, Yehia El-Fakharany, and Mahmoud Abdel Aziz. I have also learned from actors younger than me.
AO: A new generation of actors has emerged in recent years. Are there any performers who have particularly impressed you and whom you would like to work with?
TL: In comedy, I admire the performances of Mostafa Gharib and Ahmed Amin. In drama, I particularly appreciate Mohamed Farag and Ahmed Malek, and I hope to work with them in the future because they possess remarkable talent and a clear sense of professionalism.
AO: You recently made a guest appearance in Ahmed & Ahmed, starring Ahmed El-Sakka and Ahmed Fahmy. Why this choice?
TL: Guest appearances are governed by their own considerations. They have nothing to do with the number of scenes or the extent of their impact on the plot.
They are usually a gesture of support for a colleague, or a group of colleagues, with whom I share a close relationship.
Everyone involved in Ahmed & Ahmed is a friend and like family to me. In such circumstances, I do not concern myself with whether my scenes have a significant impact on the story. What matters is supporting my colleagues.
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