[18][MOVIE] SHALL I COMPARE YOU TO A SUMMER’S DAY | ENGLISH

Synopsis

Pop clichés are twisted with the love between two men who encounter a polyamorous chorus of lovers.This was a wonderful telling of an invented tale from the one thousand and one nights by Sheherazade herself. Through music, posed camera shots, animation, dialogue and recounting, the story of a group of Arab men and their hook ups and interpersonal relationships is told. taken from the Shakespearean poem written about the love of a man: “Shall I compare you to a summer’s day?” He deconstructs, through controversial visual methods, the meaning and form of the novel, cinematically and culturally. There is no narrative legacy more abundant and inspiring than the tales of One Thousand and One Nights. Shawqi builds from its elements the grand framework of the film’s story, which Scheherazade narrates in her sweet voice (Donia Masoud), about a love affair between two young men who meet in a night club: one of them. The other has many relationships and the other is still little experienced and not ready for this form of openness, and from the first seconds she breaks with naughty sarcasm several notions that we have about what a love story should be, which Scheherazade repeats to our ears, starting it with the eternally funny cliché: A look, then a smile, then a date, then a meeting!

Homosexual characters in traditional Arab films (when they exist) do not usually go beyond the framework of moral accountability and “divine” revenge for the character so that the viewer leaves the movie theater unscathed, without artistic or narrative treatment of this available diversity and investing it in new and fair stories. Authors or directors are always forced to The circumvention and insinuation when dealing with characters like this, which is not surprising in a general Arab atmosphere that does not allow bold approaches due to its close connection to censorship and official sources of funding or the fear of the public turning against filmmakers and actors through conservative movements that have become a sword on the necks of artists in the era of social media platforms ( The case of the movie “Friends and Dearest” is an example. On the other hand, when producers in the West knock on their doors, filmmakers may be exploited to produce self-orientalist works that disavow their cultural backgrounds and condemn an entire society and stigmatize it as backward. “I Miss You Hours,” co-produced by Egypt, Lebanon, and Germany, ran over a period of 66 minutes. It presented all of these labyrinths and did not fall into the trap that is usually set up for films dealing with sexuality and homosexuality, so that the feelings of love, ecstasy, confusion, and exploration flow without self-flagellation and with a bright carnival celebration, which is what distinguishes it most. Honesty and not afraid of real experimentation.