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The Yacoubian Building
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Our DVD Price: £15.99 RRP: 
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Film Description
Adapted from the best-selling novel, The Yacoubian Building is set in the heart of Cairo, and embodies every aspect of the capital: from its architecture and history, to complex labyrinth of stories exploring love and power, sex and politics. Crossing a spectrum of classes, characters, families and narratives, debut director Marwan Hamed's beautiful film tackles everything from Islamic fundamentalism to homosexuality and corruption in a lively, harsh and often funny look at modern Egyptian society.
Film Information
| Director | Marwan Hamed | ||||
| Starring | Adel Imam, Nour El-Sherif, Youssra, Essad Youniss
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| Genre | World Cinema
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| Country | Egypt | Language | Arabic | Year | 2006 |
Technical Details
| Certificate | 12 | Length | 161 mins | Label | ICA | ||
| Cat No | ICA001DVD | Format | DVD | Colour | |||
| Region | 2 | ||||||
| Subtitles | English | ||||||
8 Stills
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Review by Milo Wakelin on 8th May 2008
Bold, colourful and provocative, The Yacoubian Building is, above all, supremely entertaining. With its rich social detail and affectionate characterisations it recalls the scope of Reitz’s Heimat, whilst Cairo’s heady, cigar-clouded decadence evokes the mystery and romance of a latter-day Casablanca. Egypt’s official entry for the Foreign Language category in the 79th Academy Awards, it frankly tackles themes of adultery, prostitution, religion, corruption – even homosexuality.
‘Who doesn’t have a bad reputation in Egypt?’ asks a character. Well, according to this colourful, decadent drama, based on Alaa Al Aswany’s best-selling nove, the answer is nobody.
Set in Cairo, 1990, it shows a country poised between slow decay and simmering extremism, but the tale is told through melodrama rather than polemic. Modern Egypt is depicted through the prism of a grand apartment building in which every strata of Egyptian society have made their home, from the pieds-à-terre of the corrupt elite to the roofhut slums inhabited by the poor.
View more reviews by Milo Wakelin
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