I DON'T SPEAK VERY GOOD, I DANCE BETTER

After Maged’s brother dies of hepatitis and he learns that his sister is suffering from the same disease, Maged returns to Egypt, despite the ongoing revolution. He thus finds himself involved in the protest movements in Tahrir Square and gathers the testimony of the protesters and the journalists. He discovers that twenty-five percent of the population has hepatitis, a fact which had been carefully kept secret in order to project a positive image of the country.

“The revolution is a form of collective and spontaneous energy, but its success is threatened by the health epidemic and by the people in power. The idea of the film is to construct a story through images that neither speak the language of mere documentation, nor that of classic narration. There are leaps in time, and a musical rhythm of sounds and movements connects to the various events depicted. The dervish twirls around, just like the film moves with a circularity that shuns a classic viewpoint, disorienting the spectator, with a harmony that has a beginning and an end that coincide with flight, the symbol of freedom.”

regia, soggetto, sceneggiatura, fotografia/director, story, screenplay, cinematography Maged El-Mahedy
montaggio/film editing Lorenzo Pazzi
suono/sound Andrea Basti
interpreti/cast Mahmoud Reda, Farida Fahmy, Maged El Mahedy, Pierre Sioufy, Refaat Kamel
produzione, vendita all’estero/production, world sales Neghma Film