the audience applauded

one of my absolute favorites!

There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

It's simply great fun, a winsome film and an occasionally over-the-top luxury fantasy that never flags.

To the pretentious reviewer who uses 'melodrama' as an insult: What do you know about Egyptian film? Or Arab culture for that matter? If you knew something, you would have realized that any film that begins with a cameo from Edward Said must be somewhat worthwhile (Or at least play with some interesting ideas). Yes, this movie is firmly situated within the romantic-melodramatic genre common in Egyptian cinema. Cinema is at its root a popular entertainment, and many of the greatest masterpieces of American cinema (which most world cinemas have been trying, with varying degrees of success, to emulate since the 30's) were produced in a similar context. What is 'Casablanca' if not a melodrama? Egyptian cinema likewise operates within the framework of melodrama, and utilizes these conventions to tell stories which have a deeper meaning. Watch 'Du'at al-Karawan,' 'la anam,' 'sigara wa ka's', etc... and tell me that's not art. Youssef Chahine has experimented with auteur-style film-making (Iskandriyah leih?) but he also -like Barakat and the best of the Egyptian directors before him, knows how to exploit the narrative tropes of the melodrama genre to create art. So leave your film-festival snobbery at the door and enjoy. 'Al-Akhar' is not Chahine's best film (in my opinion, that's Bab al-Hadid) but it is a well-told story which also takes a frank look at Egyptian society and the complex relationship between the West and the Arab world.

I could not figure out what Yousif Shamine meant by the name of the movie "The Other"? I understood what the movie was about and I can relate it to life in general in the 2000s. I makes you wonder sometimes if people are really that far out of their actions, as if they do not see the effect of their actions on others. It is a tragic ending, but very real. A very good romance between a prince and a unsubdued girl, so it is for a general public. "Le Destin" (1997) was better since it was more historical and the songs were really part of the film. But "L'autre" includes also a fair good critics of terrorism (in Algeria and in Egypt). So, if you've never seen a Chahine's film, see this one, before "Le Destin" and long for the next one.

L'Autre (Al Akhar as we say it in Arabic) succeeded in attracting more people who were never big fans of Chahine's previous movies. But on the other hand, the majority of Chahine's fans didn't like the movie, or at least they said:"May be it is a good movie, but not Chahine's", and I am one of them. The characters in the movie are not deeply described, symbols used in each character are most of the times superficial. Fans of Chahine used to watch his movies to spend 2 hours of deep thinking and analysis, not only of the artistic way and the impressive mise-en-scene of Chahine - which were very good in l'Autre also - but also for the revolutionary ideas and the "Deep Diving" he used to make in his characters and the strong contradictions inside one character as well as between different characters. L'Autre was Me versus The Other, but this Me was not surely Me, and the other was too much the Other. And to understand this, just compare this Other with Chahine's Others in Salaadin 1956,and Adieu Bonaparte 1984. I was never a fan of Nabila Ebeid, but I have to admit she played a very good role. Mahmoud Hemeida was very good in a role that did not show most of his strong capabilities. Hani Salama made big progress from EL Massir.

Twenty minutes after screening L'AUTRE at a film festival lately, I lost all hope it could be viewed as a serious film and began to see it for what it is- a tacky melodrama. More cliches are impossible to fit in (cyberspace, terrorism, Oedipus complexes, the works). If this is what Egyptian filmmaking is like, Mexican telenovelas are a a refined art form with nuanced acting. Worth seeing if only for the SHOCKING appalling experience of what passes off as brilliant filmmaking in North Africa. A total disgrace to the art form, and a total disgrace to Egypt, which has contributed too much to world culture to let this travesty represent the the state of its cinematic arts.