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Commissioned to mark the 60th anniversary of the Cannes Film Festival, "To Each His Own Cinema" brought together 33 of the world's pre-eminent filmmakers to produce short pieces exploring the multifarious facets of cinema and their perspective on the state of their chosen artform in the early 21st century.
40 international directors were asked to make a short film using the original Cinematographe invented by the Lumière Brothers, working under conditions similar to those of 1895. There were three rules: (1) The film could be no longer than 52 seconds, (2) no synchronized sound was permitted, and (3) no more than three takes.
The story deals with an upscale family that is down on its luck. As the butcher Madbouly foots the bills for the entire family, the authoritative Berlanty is the one in charge. When the carpenter Ragab falls for Madbouly's niece Amal, Berlanty insists he finishes his education first.
The first Sultan of Egypt and Syria leads the Muslim military campaign against the invading Christians from Europe during the Third Crusade.
Eleven directors from eleven countries each contribute an eleven-minute short reflecting on the events of 11 September 2001: A village teacher in Iran tries to explain to her young students what's happened; city kids in Burkina Faso think they've spotted Osama bin Laden; a deaf Frenchwoman in Manhattan writes a Dear John letter to a man who left that morning for work at the World Trade Center; a Chilean remembers Allende; events recall other deaths; a mother endures more than her son's death. Tones vary, as do the locales. Most concern coming to terms with the events of the day, but at least one confronts the viewer with tragedy and death.
This concise masterpiece began as a commission by French TV for the news series Envoyé spécial. By filming Cairo with his unique sense of artistic digression, Chahine transformed this portrait of a city into the self-portrait of a filmmaker.
Qinawi, a physically challenged peddler who makes his living selling newspapers in the central Cairo train station, is obsessed with Hanuma, an attractive young woman who sells drinks. While she jokes with him about a possible relationship, she is actually in love with Abu Siri, a strong and respected porter at the station who is struggling to unionize his fellow workers to combat their boss' exploitative and abusive treatment.
A wealthy landlord floods and destroys a village on purpose to prevent the people living there from making a profit off their crops. What he doesn't know is that his own daughter, Amal, is in love with Ahmed, a young man from the village.
Ragab, a poor sailor, returns home to Alexandria after three years of absence, during which he tried to save money to marry his one true love, Hamedah. But there's trouble on the harbor, and with an old friend.
After we last see him in "Alexandria, Why?" Egyptian filmmaker Yehia Mourad is in his thirties, and successful in his work, he has grown distant from his wife and children and suffers a symbolic blockage of the heart while shooting the final scenes of his latest film. After being flown to England for evaluation, it's determined that Yehia must undergo emergency surgery. Fact and fiction blend seamlessly—with healthy doses of cleverly absurdist fantasy—as the film explores the various personalities and forces that have made Yehia (and Youssef Chahine) the man he has become.