The new administration of the Cinema Censorship Board (CCB) has been accused by some filmmakers of implementing an agenda of the Muslim Brotherhood in Egyptian cinema.
‘Ikhwanization of state institutions’ – Ikhwan means Muslim Brotherhood – has reportedly been on the rise since Mohamed Morsi came to power, although the Brotherhood has repeatedly denied these accusations. Filmmakers have recently joined this debate as CCB has rejected a number of films, especially since Dr. Abdussattar Fathi became CCB’s director.
Upholding traditions
The new administration of the Cinema Censorship Board (CCB) has been accused by some filmmakers of implementing an agenda of the Muslim Brotherhood in Egyptian cinema.
‘Ikhwanization of state institutions’ – Ikhwan means Muslim Brotherhood – has reportedly been on the rise since Mohamed Morsi came to power, although the Brotherhood has repeatedly denied these accusations. Filmmakers have recently joined this debate as CCB has rejected a number of films, especially since Dr. Abdussattar Fathi became CCB’s director.
Upholding traditions
CCB had approved the script for the movie ‘Silence’, but when Fathi assumed his position as director, the dramaturg, critic Rafiq Sabban, was surprised that CCB refused to grant him permission for filming because, according to Sabban, “the issue of incest discussed in the film, in addition to its erotic scenes are incommensurate with the traditions of Egyptian society.”
Sabban insists it has less to do with the film and more to do with a Brotherhood agenda. “All state institutions are being ikhwanized. I believe that after the recent reshuffle and appointment of Alaa Abdulaziz, a Brotherhood member, as Minister of Culture, CCB will be exposed to ikhwanization, a step serving as a knockdown against the Egyptian cinema,” Sabban said.
“I demand innovators and filmmakers to unite against this dangerous plan and defend the future of Egyptian art,” Sabban said. “I believe that the recent changes and developments suggest that ‘Silence’ will not come into being, especially since it discusses sensitive issues rejected by religious currents. Although society suffers from these issues, they believe they are not fit for an Eastern society.”
Who needs CCB?
‘Family Secrets’ is another film that has been rejected by CCB. It explicitly discusses homosexuality and contains many shocking and violent scenes which prompted CCB to object to and delete many scenes and edit it because, “the film violates public morals since it addresses sensitive issues,” according to CCB.
Although dramaturg Hani Fawzi deplored CCB’s decision, he was forced to accept it, stressing at the same time that the film did not only bring upthe issue, but also sought to explore ways of remedy. He expressed extreme astonishment at CCB’s observations, suggesting that what happened was simply an indicator of the beginning of CCB’s ikhwanization.
“Since the revolution, innovators have been demanding the abolition of CCB because it restricts our freedom and prevents us from communicating many important artistic messages,” said Fawzi. “In fact, we have signed several petitions, but in vain. What is happening is normal in light of the religious currents coming to power, but we will not surrender and will uphold our rights and demand the abolition of CCB, since its existence is unjustified and is the greatest proof that we still live in a country suffering from backwardness and ignorance,” he explained.
Film critic Khairiya Beshlawi disagrees with Fawzi, concerned that CCB’s abolition would result in producing cheap films inconsistent with society’s values and customs. “I only support decent art that seeks to promote spectators’ mentality and tries to instill good values,” said Beshlawi.
Beshlawi said there was no clear evidence of the efforts made to Ikhwanize CCB; however, she admits that there is pressure on artists. “No one can triumph over art. In this period, we suffer from many production and intellectual problems and are in no need for other problems or pressures,” she explained.
From behind the niqab to behind the scenes
‘For Adults Only’ is another contentious film according to CCB. Discussing the issue of incest, the film has been exposed to much criticism by CCB, which demanded the deletion of its sexual scenes. Nevertheless, the film’s director, Ali Badrakhan, refuses to consider this as the beginning of CCB’s Ikhwanization or restriction of freedom of filmmakers and innovators.
“There are two reasons that make me confident of the impossibility of ikhwanizing art and CCB: the first is our failed government, which is unable to put pressure on innovators and filmmakers or restrict their freedom. The second is the Egyptian people who love art, cinema, television and theater and cannot do without them. The people will stand against attempts to restrict art or terrify innovators and artists,” he said.
Scenarist Ali Abdulghani, whose film ‘Under Niqab’ was rejected by CCB, which demanded changing its title, has the same views as Badrakhan’s. “There might be efforts to ikhwanize CCB and restrict the attempts to criticize the current regime and the ruling party, but I believe that innovators will not surrender. Egyptian art is a red line and no one can cross it, especially since its credibility lies in its being expressive of all social segments without focusing on a particular group or class,” he explained.
According to a CCB report, ‘Under Niqab’ was rejected because “the film contains a lot of direct abuses against niqabis and many scenes wrong Islam. In addition, the scenario generally conflicts with the values and traditions of Egyptian society.”
Although Abdulghani expressed surprise at CCB’s remarks and refused to adopt them in the beginning, he later decided to back down and make some amendments, but without prejudice to the main idea of the film, some niqabis’ exploitation of niqab to commit heinous crimes. He has also agreed to change the name of the film to become ‘Behind the Scenes.’
For the good of art
Dr. Abdussattar Fathi expressed great dissatisfaction with the accusations leveled against CCB. “I have no comment on them. I can only say that CCB works for the good of art. It tries to expand the scope of freedom and creativity and to promote art. Demands to cancel CCB are nonsense and inapplicable and would only destroy art.”
