Au premier jour de retour après les vacances d'été, le grand imam s'effondre et meurt devant ses étudiants dans une prestigieuse université du Caire. Cela marque le début d'une bataille d'in... Tout lireAu premier jour de retour après les vacances d'été, le grand imam s'effondre et meurt devant ses étudiants dans une prestigieuse université du Caire. Cela marque le début d'une bataille d'influence impitoyable pour prendre sa place.Au premier jour de retour après les vacances d'été, le grand imam s'effondre et meurt devant ses étudiants dans une prestigieuse université du Caire. Cela marque le début d'une bataille d'influence impitoyable pour prendre sa place.
- Récompenses
- 5 victoires et 21 nominations au total
Mohammad Bakri
- General Al Sakran
- (as Mohamad Bakri)
Makram Khoury
- Blind Sheikh Negm
- (as Makram J. Khoury)
Ahmed Laissaoui
- Raed
- (as Ahmed Lassaoui)
Hassan El Sayed
- Village Imam
- (as Hassan El-Sayed)
Avis à la une
Tarik Saleh put his hand on a timeless aspect of Egyptian politics: the power interplay between the political leaders (the military) and the religious figures (Al Azhar). Never has this sensitive issue been addressed before. Which is ironically the very reason why this movie fails.
The reason why this issue was not addressed by Egyptian cinema (or "Hollywood-sur-Nil" as some used to call it back in its glamorous days) is simple: censorship. Egyptian moviemakers and actors would not be allowed to talk about this taboo. Indeed, this movie will not be played in Egyptian cinemas.
The direct consequence is that only foreign moviemakers can get away with making a movie that tackles this sensitive issue. And this is where things go wrong.
The movie - understandably - fails to capture any Egyptian essence. Dialogues are unnatural. Characters and attitudes are artificial. Add to this the fact that the cast is virtually Egyptian-free (for the reasons described above). They are therefore incapable of smoothing the dialogues into something that feels more natural.
While Tarik Saleh is from Egyptian descent, it is obvious from this movie that his relation to Egypt is, alas, too tenuous to make a movie that delves so deep into Egyptian social, political and religious realities.
Nevertheless, I am aware that my issue with this movie will only be shared by the Egyptian public. Therefore, to the extent that Tarik Saleh considers Boy from Heaven to be a a picture about Egypt by foreign filmmakers to foreign viewers, I would cut him some slack.
Still, the movie is riddled with espionnage clichés. Whichever you can think of, you will find in Boy from Heaven. Egyptian classical music is played at unlikely places. Scene transitions are often abrupt, evidencing issues with the montage.
More than once, the movie did feel like an average film school student's graduation project.
The reason why this issue was not addressed by Egyptian cinema (or "Hollywood-sur-Nil" as some used to call it back in its glamorous days) is simple: censorship. Egyptian moviemakers and actors would not be allowed to talk about this taboo. Indeed, this movie will not be played in Egyptian cinemas.
The direct consequence is that only foreign moviemakers can get away with making a movie that tackles this sensitive issue. And this is where things go wrong.
The movie - understandably - fails to capture any Egyptian essence. Dialogues are unnatural. Characters and attitudes are artificial. Add to this the fact that the cast is virtually Egyptian-free (for the reasons described above). They are therefore incapable of smoothing the dialogues into something that feels more natural.
While Tarik Saleh is from Egyptian descent, it is obvious from this movie that his relation to Egypt is, alas, too tenuous to make a movie that delves so deep into Egyptian social, political and religious realities.
Nevertheless, I am aware that my issue with this movie will only be shared by the Egyptian public. Therefore, to the extent that Tarik Saleh considers Boy from Heaven to be a a picture about Egypt by foreign filmmakers to foreign viewers, I would cut him some slack.
Still, the movie is riddled with espionnage clichés. Whichever you can think of, you will find in Boy from Heaven. Egyptian classical music is played at unlikely places. Scene transitions are often abrupt, evidencing issues with the montage.
More than once, the movie did feel like an average film school student's graduation project.
10theowest
Why the name change?
Anyway, the experience was absolutely beautiful. Seeing this at the premiere in Sweden where the director/writer Tarik Saleh could further explain his personal motivations and ideas around the story just made it so much special and as a Swede, I'm happy to see the culture of my Arabic neighbours being represented in such a masterfully crafted way. I could get the vibe of how a western film tells a story but also delve deep into a trance-like state for what family, tradition, symbolisism and religious perspectives and experiences are like.
The genre is of the captivated and serious kind, but also of the holy, which suits its original film title. Great casting, cinematography, pacing and story. I thoroughly enjoyed this movie.
I hope to see a lot more cultural representation from the middle east and collaborations in Sweden in the future. This might just be a really good taste of what's to come.
Anyway, the experience was absolutely beautiful. Seeing this at the premiere in Sweden where the director/writer Tarik Saleh could further explain his personal motivations and ideas around the story just made it so much special and as a Swede, I'm happy to see the culture of my Arabic neighbours being represented in such a masterfully crafted way. I could get the vibe of how a western film tells a story but also delve deep into a trance-like state for what family, tradition, symbolisism and religious perspectives and experiences are like.
The genre is of the captivated and serious kind, but also of the holy, which suits its original film title. Great casting, cinematography, pacing and story. I thoroughly enjoyed this movie.
I hope to see a lot more cultural representation from the middle east and collaborations in Sweden in the future. This might just be a really good taste of what's to come.
This movie has shaken Egypt to its very core, it has been deemed so provocative that it is BANNED. The director is Egyptian, the move is set in Cairo (yet filmed funnily enough in Istanbul because of the ban). It has yeilded award in the Cannes film festival, and it is simply put SUPERB.
The camera is well used, the atmosphere build up is immensely satisfying. And it ultimately proves the old saying "Man will be free when the last King has been strangled with the last priests entrials"- This is a CULT movie in the making. Unfortunately you will never see this film in Egypt.
The camera is well used, the atmosphere build up is immensely satisfying. And it ultimately proves the old saying "Man will be free when the last King has been strangled with the last priests entrials"- This is a CULT movie in the making. Unfortunately you will never see this film in Egypt.
When the elderly Grand Imam of Cairo's prestigious Al-Azhar University passes away suddenly, a scramble ensues over the appointment of his replacement, one that involves the maneuverings of various vested interests from religious fundamentalists to political pragmatists to devoutly spiritual purists. But who will ultimately take over? That depends on the efforts of a young new student who becomes caught up in this power struggle, the pious son of a fisherman who's unwittingly recruited as a state security informant to infiltrate a group of academic ideological extremists. This slowburn thriller (sometimes a little too slow for its own good, especially in the middle) draws on this scenario to examine the diverse dynamics of Egyptian politics and religion, especially the often-tenuous relationship between the two, as played out through the internal (though publicly high-profile) workings of this long-established, well-respected educational institution. Writer-director Tarek Saleh's latest is a finely acted, capably made production (a noteworthy accomplishment given that the controversial filmmaker's work had to be shot outside of Egypt), though it occasionally lacks the gripping tension needed to give the picture's narrative the kind of dramatic heft that an offering like this requires, especially considering the high stakes involved in this story. While this Cannes Film Festival award winner for best screenplay is a work of fiction and said to poignantly reflect the prevailing conditions found in these institutions, the script, pacing and overall tone could have stood to be less subtle and more pointedly compelling. Indeed, "Cairo Conspiracy" is a suitably attention-holding watch with a solid underlying premise, but it would have been better if it had been a little less conventional and wielded a more pronounced edge.
This movie is a picture of the state's entanglement in religious strata. For sure it isn't present only in ranks of Islam, but also in the other religions and media usually shows the other picture to the masses, but hide the truth. Here we see the fanatical corners of Islam and how an innocent person, in thoughts that he is giving a help and support for a good matter, falls too deep into something about which he has no idea, cause he learned something else. However, you can see a good filmmaking with all those obstacles and traps one thriller should have followed with amazing cast, where the actor(Barhom) of the main protagonist gives us a big enigma at the end.
Le saviez-vous
- AnecdotesA few days before the shooting in Egypt for Le Caire Confidentiel (2017) was supposed to take place, director Tarik Saleh was publicly removed from the country and told not to come back. As a result, that movie was shot in Casablanca, Morocco. As he's still persona non grata in Egypt, he couldn't shoot La conspiration du Caire (2022) there, thus despite being set in Cairo, the film was actually shot in Istanbul, Turkey, mostly in the Süleymanye mosque.
- ConnexionsFeatured in Il était une fois...: La conspiration du Caire (2024)
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- How long is Cairo Conspiracy?Alimenté par Alexa
Détails
- Date de sortie
- Pays d’origine
- Sites officiels
- Langue
- Aussi connu sous le nom de
- Boy from Heaven
- Lieux de tournage
- Sociétés de production
- Voir plus de crédits d'entreprise sur IMDbPro
Box-office
- Budget
- 6 500 000 € (estimé)
- Montant brut mondial
- 4 867 691 $US
- Durée
- 2h 6min(126 min)
- Couleur
- Mixage
- Rapport de forme
- 2.39 : 1
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