A daring new film by Swedish-Egyptian director Tarik Saleh shakes up Cannes with a raw look at Egypt’s political landscape, spotlighting President Abdel-Fattah el-Sissi through real footage and a carefully cast lookalike.
Tarik Saleh is no stranger to tackling tough subjects. His latest film, Eagles of the Republic, premiered on the Cannes red carpet this Monday, plunging viewers into a tense political thriller set in modern Cairo. But unlike typical political dramas, this one comes with an edge—Saleh doesn’t just talk about Egyptian politics; he puts the country’s longtime president right in the frame.
Bold Politics in Fictional Cairo
The story follows George Fahmy, Egypt’s most famous actor, forced against his will to star in a government propaganda film glorifying the president. Played by the Swedish-Lebanese actor Fares Fares, Fahmy’s physical mismatch with Sissi is glaring—he’s taller, more imposing—but the film spins this into a striking metaphor for the absurdities of political control.
Saleh’s choice to open a window on Egypt’s power structures is gutsy, especially in a political climate where criticism can be dangerous. The film was shot mainly in Turkey, using a mostly non-Egyptian cast to tell a story deeply rooted in Cairo’s tense atmosphere.
One might wonder why Saleh would take on such a sensitive topic, especially when his homeland is still tightly controlled by the government. The director himself answered this simply: “I don’t have a choice because he’s a constant. He will sit there until he dies.”
It’s a stark reminder that, in Egypt, the shadow of Sissi looms large, influencing every political and cultural conversation. Saleh’s film refuses to shy away from that fact.
Real Footage and a Lookalike Bring Authenticity and Unease
What makes Eagles of the Republic stand apart is its audacious use of real footage of President Sissi. The movie doesn’t just mention him; it inserts clips that remind the audience of the real-life figure at the heart of the story. And for scenes that demanded a physical presence, Saleh found a lookalike to briefly portray the president on screen.
This blending of fact and fiction adds an uncomfortable realism that makes the satire hit harder. It’s as if the line between the film’s world and reality blurs, forcing viewers to reckon with the actual political situation.
The film’s daring approach caught even Saleh off guard when he first wrote the script. “There’s a twist in the story that even surprised me,” he said, hinting at the film’s ability to keep audiences guessing.
This kind of bold storytelling is rare and risky. Given Egypt’s political landscape, a film so openly critical of its leader could face censorship or worse. Saleh’s decision to shoot abroad and cast actors who are not Egyptian perhaps speaks to the challenges of producing such a work on home soil.
From The Nile Hilton Incident to Cannes Stardom
Saleh is no stranger to Cannes or politically charged cinema. His 2017 film The Nile Hilton Incident first put him on the map with its gritty depiction of corruption in Egypt. Then came Cairo Conspiracy in 2022, which snagged the best screenplay award at Cannes.
With Eagles of the Republic, Saleh continues his streak of spotlighting Egypt’s complex political scene but ups the stakes by directly confronting its most powerful figure. His work reveals a deep frustration, but also a sharp wit and cinematic craft.
Interestingly, Saleh’s films, while politically loaded, avoid becoming dry or preachy. Instead, they offer layered characters and suspenseful plots that make political realities feel personal and urgent. This balance might explain why his films resonate internationally.
A Reflection of Egypt’s Stubborn Political Reality
It’s no secret that President Abdel-Fattah el-Sissi has dominated Egypt’s political scene since 2014. His rule, marked by authoritarian policies and a tight grip on media and dissent, has made him a figure of both fear and loyalty.
In this context, Eagles of the Republic feels like a cinematic act of defiance. By weaving a tale about a propaganda film within a thriller, Saleh shines a light on the machinery of state control and the artist’s struggle within it.
The film’s layered narrative also invites viewers to think about the role of art under authoritarian regimes. Can a film really be free when it’s made under pressure to glorify a leader? Or is every frame a small act of resistance?
With Eagles of the Republic now hitting the festival circuit, the conversation around Egypt’s political climate and freedom of expression will surely gain fresh momentum. Saleh’s film is more than just entertainment — it’s a pointed commentary wrapped in suspense and satire, a mirror held up to a nation’s troubled soul.
