“This is a fictional story set in a fictitious world. We can be happy that reality is better and more beautiful.” These are the opening words of the film SHARAF by German-Egyptian director Samir Nasr, who brings the novel by writer Sonallah Ibrahim, who was born in Cairo in 1937, to the screen. But we quickly realize that these words are deceptive. Because what we see on the screen is not a distant dystopia, but shockingly close to harsh reality. Ibrahim is one of the most important writers in the Arab world. He was imprisoned in 1959 for his political activities and spent five years in jail. His works are characterized by a sober tone reminiscent of press reports. Nasr successfully conveys this linguistic style through color-desaturated images that authentically capture the oppressive confinement behind prison doors. During an interrogation, the main character Sharaf is forced to make a false confession. Sharaf insists that he only defended himself in self-defense against a foreign man. But the police want him to confess to murder, and they use torture and manipulation until Sharaf finally gives in. And so the young man ends up in prison. Here, too, prison is presented as a mirror of society. By looking at this microcosm, the structures of dictatorial rule become clear. The division of prisoners into “the state” and “the royal” illustrates social inequality: while some are crammed into small cells, forced to live in prison uniforms and eat poor-quality food, others can buy and receive privileges from their relatives, who regularly provide them with good meals. The solidarity among the inmates is portrayed just as clearly as the constant threat of betrayal, especially in connection with the often brutal guards.
Crime, Drama
1h 34min
12 FSK
AR
EN
DE
Faced with a prison sentence for a crime he didn't commit, Sharaf decides to try to rise in the egyptian prison hierarchy.
“This is a fictional story set in a fictitious world. We can be happy that reality is better and more beautiful.” These are the opening words of the film SHARAF by German-Egyptian director Samir Nasr, who brings the novel by writer Sonallah Ibrahim, who was born in Cairo in 1937, to the screen. But we quickly realize that these words are deceptive. Because what we see on the screen is not a distant dystopia, but shockingly close to harsh reality.
Ibrahim is one of the most important writers in the Arab world. He was imprisoned in 1959 for his political activities and spent five years in jail. His works are characterized by a sober tone reminiscent of press reports. Nasr successfully conveys this linguistic style through color-desaturated images that authentically capture the oppressive confinement behind prison doors.
During an interrogation, the main character Sharaf is forced to make a false confession. Sharaf insists that he only defended himself in self-defense against a foreign man. But the police want him to confess to murder, and they use torture and manipulation until Sharaf finally gives in. And so the young man ends up in prison.
Here, too, prison is presented as a mirror of society. By looking at this microcosm, the structures of dictatorial rule become clear. The division of prisoners into “the state” and “the royal” illustrates social inequality: while some are crammed into small cells, forced to live in prison uniforms and eat poor-quality food, others can buy and receive privileges from their relatives, who regularly provide them with good meals. The solidarity among the inmates is portrayed just as clearly as the constant threat of betrayal, especially in connection with the often brutal guards.