Young broadcaster Nader Seif El-Din (Mohamed Heneidy) and his colleague Effat El-Sherbiny (Hanan Turk) set out in the movie “We Came the Following Statement” (2001) to ask people on the street what New Year’s Eve represents to them. One of the citizens complains to him about his situation without a wife or money, and a citizen Another spends the night in the sewage, then meets a prisoner in a prison, and comments that he and the prisoners are still living in the first millennium.

 This film is one of the most important comedy films of Heneidy and director Saeed Hamed, and sheds light gracefully on how the media deals with the problems of the poor, as the TV report is rejected, so Effat refuses to change the report, while Nader agrees to film it again to suggest that the citizens are happy and the night is joyful, so the report is changed to speak Citizen that he does not wish for anything in the new year because he has already achieved everything!

Two marginalized

From the comedy in “We Came the Following Statement” to one of the most important nights of Egyptian cinema in the film directed by Atef Al-Tayyib, author Rafik Al-Sabban, artist Nour Al-Sharif, and Lebleba in their cinematic masterpiece “Hot Night” (1995), where coincidence brings together the night girl Houria (Lebleba) and the taxi driver. The poor Syed (Nour Al-Sharif), who is doing his best to collect an amount of money for the treatment of his late wife's mother.

While Houria is searching for her rights that have been stolen, and she is in dire need of this money to desecrate the house in which she lives, she does not care about the celebrations around her because “New Year's Eve is not easy for people,” as she says, and Houria confronts Sayed with the bitter truth, “Yes, sir.” We don't live."

Both are in a race against time to achieve their purpose, in the midst of a wild night, a festive atmosphere, and people looking for pleasure and joy, even in the most severe and harsh conditions, as we see the nurse among the patients and doctors;

She dances to the tune of a new song by Amr Diab in the reception hall of the government hospital, which lacks the most basic capabilities.

While our heroes from the marginalized search for cheap money and the desire for life, in a film that immerses the viewer with sincere emotions and presents a special human vision - without straying for a moment from the suspense - of the lives of night girls and taxi drivers, and deals with the concept of the oppressed classes encroaching on each other (a businessman's driver assaults The girl of the night and steals her, the nurse requests a bribe from Sayed to treat his relative), or the power when she loses her compass (Sayed suddenly turns from a gentleman citizen into a suspect when he enters the police station to inform him of finding a bag of money), all of this makes the film one of the most enjoyable and important films of Atef El Tayeb. One Night Movies in Arab Cinema.

Dream land

On attachment to the homeland, dreams of traveling to America, and the relationships of mothers and children, the actress Faten Hamama presents the movie “Land of Dreams” (1993), directed by Dawood Abdel-Sayed and author Hani Fawzi. The eccentrics engage in a special adventure with him.

The homeland is still strongly present in Narges' heart, and she fiercely resists the idea of ​​traveling to the United States, and her passport is lost, and that was the savior for her so that she would not leave her homeland. She really does not want to obtain the passport because she is afraid to travel, and she also wants to see her immigrant son. She sets out through the streets of Cairo amid New Year's Eve celebrations to search for her lost passport.

In this film, Hany Fawzy and Dawood Abdel Sayed present their visions of the flimsy dreams of emigration, and the hope for an easy life and safe living in traveling to the land of awaited dreams.

Politics, terrorism and other things

In the movie "Baby Doll's Night" (2008), there are many stories and tales during New Year's Eve, as Hossam (Mahmoud Abdel Aziz) returns from the United States of America with an American delegation to spend the New Year's celebration with his wife, and he encounters a new reality.

The issues presented in the film vary, different questions about the Arab-Israeli conflict, the relationship of Arabs with Jews, Islamophobia, the events of September 11, terrorism, the Holocaust, the Iraq war, and the film ends with a terrorist attack targeting a hotel during the New Year celebrations.

The film did not achieve the expected success critically or publicly, despite the availability of a huge budget and great artists such as Mahmoud Abdel Aziz, Nour Al-Sharif and Laila Elwi, but the scenario crowded with events, sub-stories and sexual overtones did not find the expected resonance with the viewer.

tourist resorts

The movie "New Year's Eve" (2020) takes us to the atmosphere of celebrations in luxury tourist resorts away from bustling Cairo, but that does not mean that we move away from class differences.

A number of young people organize a party in a coastal village to celebrate New Year's Eve, and we see through them their troubled relationships with each other, their families and friends.

There are many stories and anecdotes, including the tour of the drug dealer (Iyad Nassar) with a rich young man (Ahmed Malik) on a tour to search for drugs, and the assertion of the first that the rich class needs the poor class to serve it, or the exploitation of a number of rich girlfriends of a handsome young man to provide a special service to one of them.

And between illegal relationships, drugs, and class injustice, the film presents an upper class whose youth lives between drugs and sexual relations, and a lower class that provides drugs to the upper class, serves it, or is subjected to its oppression.

Account statement

Art critic Andrew Mohsen believes that one of the most common concepts for dealing with New Year's Eve is related to the idea of ​​"statement of account", entering a new phase and a different beginning and hoping to achieve ambitions in the new year. The Egyptian approach to that idea in films was very appropriate to display cases of contradiction. Between the nature of each class, monitoring the lives of the marginalized and those whose lives do not change.

 Andrew adds - in previous press statements - that Egyptian cinema films presented the problems of reality during New Year's Eve, and he continues to see that some professions use them as an opportunity to collect money from the celebrants, and others do not feel the celebrations because they are immersed in material and social crises, while there is a group that celebrates and waits for the day. Eagerly, class differences appear through each individual's dealings with the day through memorable and memorable scenes.

He considered, for example, the New Year's Eve scene in the movie "We Came to the Next Statement" as one of the revealing, important and intelligent scenes in this regard.