Egypt's Ministry of Culture has launched a national plan to revitalise the country's film industry by redeveloping state-owned cinematic assets into modern production centres. The plan also aims to preserve and digitise Egypt's cinematic heritage. The initiative is built on three main pillars: upgrading the infrastructure of studios and cinemas, reactivating idle assets to maximise their cultural and economic value, and establishing a professional national production entity to support creators and investors. The Holding Company for Cultural and Cinematic Assets Management Company, along with its asset management subsidiary, is leading the implementation. Renovation work covers facilities including Cinema City, Nahhas Studio, and Al-Ahram Studio, which will be equipped with advanced post-production technologies such as editing systems, colour correction, sound mixing, digital archiving, fire fighting systems, and climate control. The plan also includes the development of historic cinemas such as Miami, Diana, and Normandy. Several cinemas have already reopened, with renovation starting at Miami and Normandy for the first time in over 25 years. Disputes with distribution companies have been resolved, and audiovisual systems have been upgraded. A new national production company is being established to provide professional services in cinematography, editing, sound, and colour correction, supporting regional and Arab film production. As part of efforts to preserve cultural heritage, several classic Egyptian films have been restored and digitised in 4K resolution. These works will be made available on global digital platforms and showcased at international film festivals. A dedicated website has been launched to manage cinematic assets, along with a YouTube channel to screen state-owned films. A content protection agreement has also been signed to combat piracy and maximise digital revenues. Moreover, plans are in place to upgrade the cinema laboratory with new restoration equipment, in collaboration with the Armed Forces Engineering Authority. Restoration tasks will be distributed between the lab and the audiovisual heritage centre to ensure high efficiency within a set timeframe. A specialised festival for restored films is also under study, with plans to feature screenings in modern formats, public events, and interactive sessions aimed at deepening audience appreciation of the historical significance of these works. Attribution: Amwal Al Ghad English Subediting: M. S. Salama
