In a statement posted on his official Facebook page, Hefzy said the issue should not be reduced to a confrontation between artists and producers, arguing that both sides have legitimate concerns and that the current debate has overlooked the legal and commercial complexities surrounding the implementation of public performance rights.
The controversy intensified after actor and Senator Yasser Galal, who serves as undersecretary of the Senate's Culture, Media and Tourism Committee, announced that he had secured official approval to activate public performance rights in Egypt as part of efforts to strengthen protections for artists' intellectual property.
The move would entitle creators, including actors, directors, screenwriters, authors, and composers, to receive financial compensation whenever their work is rebroadcast or commercially exploited after its initial release, whether on television, streaming platforms, or other exhibition channels.
The announcement sparked sharp reactions across the industry. Producers voiced concerns that introducing new royalty obligations without establishing a clear legal and contractual framework could place additional financial pressure on an industry already struggling with rising production costs, declining demand from streaming platforms, and the continued impact of piracy.
Filmmakers and creators, however, argued that public performance rights are internationally recognized intellectual property rights rather than optional benefits granted by producers.
Director Mohamed Diab rejected suggestions that the rights could be waived or depend on producers' approval, describing them as a legal entitlement recognized in countries around the world.
As the campaign gathered momentum, he joined other filmmakers, actors, and writers in sharing a social media graphic bearing the slogan "Together for the Activation of Public Performance Rights," which has become a symbol of growing support for establishing a formal mechanism to compensate creators whenever their works are rebroadcast or otherwise commercially exploited.
Screenwriter Ayman Salama, head of the Drama Writers Association, similarly argued that creators deserve a fair share of revenues when their works continue generating income through repeat broadcasts and new distribution channels.
At the heart of the dispute is a long-standing gap between Egyptian copyright legislation and its practical implementation.
Supporters of the initiative argue that although Egypt's Intellectual Property Rights Law (Law No. 82 of 2002) recognizes copyright and related rights, the country still lacks a clear mechanism for collecting and distributing public performance royalties in the film and television sector.
As a result, most creators receive a one-time payment for their work, even when productions continue generating revenue years later through satellite television, streaming services, and other platforms.
Against this backdrop, Hefzy argues that the current standoff has exposed what he described as "a major gap between the two sides."
While many artists may not fully appreciate the financial and operational challenges facing producers, he said, some producers also fail to recognize that creators' demands are "legitimate in principle" if implemented through a fair and balanced framework.
Hefzy also criticized the public debate for reducing what he described as a highly technical issue to a simple conflict between producers and artists.
"The reality is far more intertwined," he wrote, arguing that much of the public commentary has overlooked the legal and practical complexities surrounding the issue.
He said any move to activate the law or introduce new regulations should have been preceded by broad consultations involving producers, performers, writers, directors, legal experts, and broadcasters.
Instead of unilateral steps, he called for a serious dialogue informed by international experience while taking into account "the particular nature of the Egyptian market."
Referring to his own experience working with actors represented by American and European unions, Hefzy noted that public performance rights in those markets are governed by comprehensive contractual systems that protect both producers and performers. He questioned whether those models could simply be replicated in Egypt, where contracts governing the sale of films and series to broadcasters and digital platforms currently contain no comparable provisions.
Hefzy also warned that Egypt's production sector is facing mounting economic pressures, including rising production costs, weaker demand from streaming platforms, lower domestic subscription revenues, and the continuing impact of piracy.
In a joint Facebook statement, producers Ahmed El-Sobky and his son, Kareem El-Sobky, also called for broader consultation before implementing any new framework.
While acknowledging that public performance rights are recognized across the United States, Europe, and parts of the Arab world, El-Sobky argues that Egypt's film industry operates under markedly different market conditions.
He pointed to a decline in domestic film production, from 42 Egyptian films in 2024 to 32 in 2025, as evidence of the pressures facing the sector, stressing that any legislative changes should be developed through institutional dialogue involving all stakeholders, particularly the Chamber of the Cinema Industry, to protect creators' rights without undermining the industry's stability.
Hefzy concluded by arguing that producers are no longer the dominant force in the industry, saying streaming platforms and television networks now wield greater influence in the drama sector, while distributors and international exhibition platforms have become the key players in cinema.
"The goal is not for one side to prevail over another," he wrote, "but to build a system that achieves fairness, protects creators' rights, and at the same time ensures the industry's ability to continue and remain competitive."
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