स्वर्ग से लड़का

I like it when films shake the foundations of real life supremacy, this film is one of them. The subject matter is a hot topic and a very controversial one, which is why Tarik Saleh, the filmmaker, is persona non grata in Egypt, and the film was shot in Turkey although it is meant to portray the Azhar Mosque.

This is the story of Adam, the son of a fisherman who gets a letter of approval from the Azhar mosque to join their ranks, coincidentally the Imam. Trouble is brewing in the heels of appointing the next Imam!

This is a well made film with a well-made screenplay and memorable performances from the lead actor.

Boy from Heaven is not an easy watch but it is unusual, inspiring and fascinating in its portrayal of a world unknown to most non-Muslims. It creates an atmosphere both sacred and threatening and the main character, in his tortured vulnerability and innate purity, is a compelling watch. It was by far my favourite movie at the Melbourne International Film Festival.

Every scene is rivetting as the plot becomes more and more dangerous for our young hero: life here is cheap and political influence all important. The film is a visual delight and the cinematography excellent. Above all, it is full of pauses and silence, reflective silence, giving the viewer time to catch their breath in the midst of the brutal reality of life at the spiritual university. This is truly a great movie!

If there are certain films that we consume and extract everything they want to tell us at the moment it ends, there are others that have much to explore and understand between the lines. Cairo Conspiracy - previously called Boy From Heaven, a much more suitable title - is a political and religious thriller with some very clear messages but also a lot to read and extrapolate.

The story is simple and seemingly contained. It tells us about a boy, Adam (Tawfeek Barhom), who receives a letter that will change his life: he has been accepted at the prestigious Al-Azhar University in Cairo, Egypt. As soon as he arrives, the Grand Imam of al-Azhar dies suddenly, and a power struggle to replace him begins. For someone with little knowledge of the culture in question and what this position actually represents - believe me, this is much more than a mere college dean in the US - it may seem strange why this is such a coveted place. Why do some people kill? Why do some people give their lives? I confess that when the film ended, I researched the topic a bit more, however, the film does a good job of showing us the importance of what we are talking about here, involving various religious fabrics - more or less dangerous - and the government itself. And where does Adam fit in? Well, Adam, who until then was little more than "the fisherman's son," finds himself involuntarily involved in the centre of these intrigues, conspiracies, and dangerous games.

Tawfeek Barhom - whom I did not know before - has a powerful interpretation as Adam. A young man who still needs to get to know himself but has little time to look at himself. He doesn't always do the right thing. He doesn't always know what to do. He doesn't always find it easy to express what he feels. He is a confused teenager, like any teenager, but he cannot afford to remain in that state for too long. He is forced to become a man. Right now.

Man. If there's one thing that this movie doesn't lack, it's men. It's almost impossible to see a woman in this toxic and patriarchal world. When any attention is given to a woman, it's to expose the way she's treated by society and the more powerful. It's to show us that she should remain without opinion, without identity, submissive and obedient to what life - men - enable her to do. I may be using a lot of words on something that isn't the central theme of this film, but I feel that Tarik Saleh's choice is intentional. Even when he shows us certain family environments of characters who should be dear to us, the writer and filmmaker gives us clues about what he thinks about the concept of family and how genders have well-defined roles within society.

Through this, we can also extract much of what this film wants to say about its central themes. We're talking about a society that merges with its religiosity. Everyone's roles converge with Islam, whether we're talking about a more radical or more open side of it. And when they diverge in the customs and teachings passed down by the written and spoken word, it invariably serves to expose all the hypocrisy of a system that only survives because it enables a few to dominate and control everything and everyone. When Saleh shows us daily hygienic rituals specific to religion, he shows us people cleaning themselves of all their sins, all their anxieties, and all their filth. The filth that leaves marks on the outside and the filth that leaves marks on the inside. And, no matter how much goodwill and people want to do better, there are always stronger forces that could take them down undesired paths, paths that don't represent what that - or any other - religion stands for on paper.

When it comes to power dynamics, Cairo Conspiracy is fascinating. It is so when it demonstrates the calculated relationships of those who know a lot about this life. It is even more fascinating when, gradually, it reveals who are, in fact, the main players of this game and who are their pawns. There are pawns for all tastes. This is particularly visible in the figure of the investigator we follow more closely - Ibrahim, very well portrayed, full of nuances by the already well-known Fares Fares - who has his own pawns and is also a pawn of someone else.

There are also other major pawns. Those who should not even be there. I'm talking about the students of that University who, on one side or the other of the board, have been used in power and backstage wars, being manipulated for personal purposes. This is also a way of keeping society the way it is, indoctrinating - grooming is the right word - from an early age, reaching those most susceptible and feeding the system itself.

Cairo Conspiracy may seem, at times, a cold film. It is a film with no completely right sides or characters doing what we are used to see in Hollywood heroes. But do not be fooled. When it criticizes the functioning of a society, it is not pushing us away from its people. It acknowledges the cynicism but also believes in individuals and the impact that small choices can have. It is not asking for war. It is shouting for help. It is shouting for change. The change of men.

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.

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.