In the heart of downtown Cairo, Zawya Cinema has redefined what it means to experience film in a country where such spaces are rare. Zawya started out in 2014, introducing Cairo to year-round independent and arthouse cinema. Amidst a challenging cultural, economical, and political landscape, Zawya has carved out a space for filmmakers and audiences to connect, inspire, and dream. At its head is executive director Youssef Shazli, a passionate advocate for independent film whose family legacy is deeply ingrained in Egyptian cinema. Bridging global narratives and local voices while creating community space and launching new initiatives, Zawya has become more than just a haven for alternative cinema. As it reflects on a decade of growth, resilience, and innovation, Shazli discusses the cinema’s evolution, its impact on Egypt’s cultural scene, and the possibilities that lie ahead for independent and Arab cinema in an ever-evolving landscape.
Growing up surrounded by filmmakers and immersed in Egypt’s rich cinematic history, Youssef Shazli’s connection to film was almost inevitable. “My mother was a filmmaker, my father an executive producer, my uncle an producer, and my mother’s uncle, Youssef Chahine, was a famous Egyptian film director, actor, and producer in Arab cinema,” he recounts. Yet, his personal journey went beyond that, becoming a pathway for self-exploration and discovery.
“Films have played a big role in shaping my identity and my way of thinking,” he reflects. “My values, my political opinions, my philosophy on life – all of these have been shaped by the films I watched while growing up.” For Shazli, cinema was more than just entertainment. “I started to understand other cultures and get to know different countries through the stories told on screen.”
He developed a deep appreciation for realist and raw storytelling, which he credits to filmmakers like the Tunisian-French Abdellatif Kechiche, whose intimate portrayals of complex human experiences left a lasting impression. “I discovered him while growing up because my mother used to watch his films,” Shazli shares. “When you watch his work, you feel like you are in it.”
Shazli himself never felt the urge to create films – his passion lies in their curation and dissemination. “I was never a filmmaker, and I don’t think I will ever be a filmmaker,” he explains. “I am more interested in watching films, programming them, and creating spaces for these films to exist and to be appreciated.”
This passion laid the groundwork for Zawya Cinema. Inspired by his work with the initial Panorama Film festival, an annual event for Egyptian audiences started by his mother, Marianne Khoury, in 2004, Shazli saw the potential for a permanent platform for independent cinema, something for which there was not yet a formal infrastructure in Egypt. “That’s when the idea of Zawya emerged – a year-round space to bring these stories to audiences consistently.”
The renewed energy in Cairo following the Arab Spring provided fertile grounds for the birth of Zawya. “What happened in 2011 created a sense that anything was possible,” reflects Shazli. “There was this drive to create something. If it wasn’t for 2011, maybe Zawya wouldn’t have happened.” Between 2011 and 2013, there was an overwhelming feeling of optimism as Egyptians embraced political change, reclamation of public space, freedom of expression, and new cultural initiatives. This spirit reverberated through the arts, including cinema, inspiring projects like Zawya to flourish.
However, putting this vision into reality was complicated and came with significant challenges. “It was difficult to convince stakeholders, have cinema owners trust us with their space, assure distributors of our vision – it wasn’t easy,” Shazli says. There was a culture of skepticism looming around, dismissing the idea as too niche. “Everyone was focused on what makes money – mainstream cinema. People thought there was little interest in independent films.” Zawya’s team had to prove themselves. “Thankfully, we were persistent enough,” he notes. Within the first six months of opening, audience turnout began speaking volumes. The first few years were dedicated to establishing credibility and showing that Zawya could succeed. “It was much easier to secure our second, and current, space once we had a track record,” Shazli recalls.
Zawya quickly became an important aspect of Cairo’s cultural landscape, filling a gap in Egypt’s cinema by connecting audiences to independent and arthouse films. “There’s obviously an interest from people for these movies, and there are people making these films. But there was no link between the two. We created a platform for these films to be seen and for people to see them.”
Shazli’s approach to Zawya is broad and inclusive, one he describes as “quality cinema.” He explains, “The definition of alternative cinema varies for everyone. For me, it’s about films I want to watch – whether they’re deeply experimental, Oscar contenders, or even the occasional Hollywood production. We have a diverse audience – some are into experimental programming and others just want to see the latest films.”
But Zawya is more than a cinema; it’s a community hub. Its location in downtown Cairo was an intentional choice, embracing the area’s historic and vibrant energy. “Downtown presents this feeling that you’re going to something authentic – a proper arthouse cinema that stands alone on the street, not in a mall or a compound. It’s part of the charm. Going to Zawya is also experiencing downtown’s unique energy.” This vision of community continues to evolve. The current space is small—Shazli hopes to expand to a place where people can gather, work, eat, and enjoy music. “I’d love for this to grow. Right now, the space doesn’t allow for it, but maybe in the future, we’ll explore creating something more extensive and bigger.”
Navigating independent cinema in Egypt comes with its own set of challenges, from funding to censorship. Shazli explains that much of Zawya’s programming is dictated by availability and funding. “Honestly, it’s often about what is available. We scan every month and year to see what films are being made. Sometimes it’s predominantly foreign cinema, and other times it’s Arab cinema. It shifts,” he says. Last week’s Panorama at Zawya was a European film festival because they were funded by the EU. “Funding entities come with specific visions, which influence what we can show. We only have limited resources and it’s much more expensive to buy films compared to what we can charge for tickets,” he adds.
Economic realities compound to these difficulties, especially with the devaluation of the Egyptian pound. More financial stability would help Zawya to diversify its programming, moving away from the dominant Eurocentric discourse in cinema. “I’d love to have more freedom to focus on other parts of the world. We recently secured funding for a Global South program, but we need more of that support to curate diverse monthly programs consistently.”
Censorship presents another layer of complexity. As an official cinema, Zawya must follow regulations set by a censorship board. “Everything goes through censorship, and we get permits accordingly,” Shazli explains. While the board is generally more lenient with festival screenings, red lines remain.
Still, Zawya has managed to significantly impact independent cinema in Egypt. Its programs not only offered Arab filmmakers a platform to showcase their work, but provided opportunities to earn from their films. The Zawya Shorts Film festival, in particular, has become an important springboard for emerging directors. “We receive about 300 submissions every year and select only 20. Each year, new talent is discovered through this,” Shazli shares.
One success that stands out is Kawthar Younis, whose graduation project—a documentary about her father—was screened at Zawya and became a hit. “The film ended up playing for a month, and about 5,000 people came to see it. The buzz helped establish her career as a director,” Shazli says. Stories like this highlight Zawya’s role in shaping the next generation of Egyptian filmmakers.
Yet further challenges still remain. “We are missing producers, distributors, more spaces, festivals, everything. We have talent, that’s what we have, but the rest is missing.” But he remains optimistic. “Independent cinema, by nature, tackles important issues. We complement these films with Q&As, articles, and workshops to create discourse.”
In January, Zawya is launching a Global South program to shift focus from Eurocentric narratives to regions with shared experiences. “The first part will be a carte blanche program where five Egyptian directors select films from the Global South that impacted them,” Shazli explains.
Zawya’s future, while promising, depends on sustainability. “There’s immense talent in the region, and the quality of work is improving. It’s just about having the right infrastructure and enough funding,” Shazli says. Reflecting on milestones like the 2018 move to the current, larger space and the festival’s growing reputation, he emphasizes the importance of perseverance. “Sometimes our existence gets threatened, we just have to continue to exist, it’s as simple as that.”