We have been invited to the private screening debut of Khaled Abol Naga‘s feature film Microphone. Although we used to be film aficianados as youngsters and then sharply veered into independent films in the beginning our adolescence, we were skeptical about Arabic cinema partially because we have lost hope of the genre sometime in the 80s’ and also because, on our part, we never put any effort to tap back into it. However, something about the aura of Microphone grabbed us. Not only was it touted to be an unconventional angle for Egyptian cinema, but also because it was heavy on another form of art that we are pretty familiar with – music.

The film is a frank look at the state of Arabian talent and the obstacles for its recognition. Centered in Alexandria, the picture takes the viewer into an atypical perspective of this historic city’s underground scene of artists, eccentrics and all-around young creative community. The storyline is a serious of true stories that intertwine together as the plot thickens spliced with rewound scenes of the main character’s meeting with his old, and possibly only, love.

The movie brings to light the struggle for talent to rise and the ramifications of that pursuit, whether societal, familial, religious or even emotional. It is filmed in docudrama format that makes the characters more personable and their reality a more imminent one. Varying from to the main character’s love who decides to fugue the country in hopes of developing her standard of living to his father, who serves as a leitmotif for Arabian music‘s golden days.

Even as the movie centers around musical bands, many of which are raw talents that surprised us with their songs and performances ranging from hip-hop to rock to even ska, the real story here is that of the state of life in most of the Arab world. It deals heavily with political commentary, religious implications and the sad state of art appreciation. These factors are focal points that have managed to trump the development of the arts – a vital organ of a functioning society.

Although their hopes are thwarted throughout the movie from personal relations ships to the intervention of police forces, the movie does not fail to end with a note of hope and affirmation that Arabian talent is still alive and well, its only murderer is oppression, corruption and prejudice.

Microphone gives the viewer a candid view on the hurdles that once weren’t there. It is a crucial collection of biopics that serves as a reminder of the condition of Arabian arts. The film is a true timepiece that will leave you with an ambition to protect young talent and hope for progression, yet will lure you with great melodic accompaniment along the way. We highly recommend Microphone for your viewing.

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