When asking Mohamed Hammad about his new short film, “Ahmar Bahet” (Pale Red), and what he actually knew about young girls and the confusing phase of adolescence, there was a slight awkwardness, but it was quickly followed by a confident gaze and an even quicker response. Right then I knew that there was much more to this movie than four young producers assuming to know about matters of “secret girl stuff,” as he put it.
Applause from the eager crowd echoed through the Cairo Opera House's Open Air Theater adding to the anticipation before the lights had even gone out. “Pale Red” centers on Shaimaa (Jaidaa), a troubled teenage girl living alone with her grandmother. She confronts adolescence in a society that impedes creativity; one that continues to throw unrealistic demands at young people. Shaimaa and her grandmother are from different worlds and her natural sexual awakening is accompanied by intricate dilemmas and intriguing confrontations. Her world is turned upside down with intrusive peer pressure, lingerie and the feeling of being unappealing to the opposite sex. At one point, Shaimaa faces an embarrassing situation that forces her to reassess her identity. Through the eyes of young Egyptian teenagers, we get a detailed glimpse of these girls' secret world. “Pale Red” is an anecdote of intrinsic curiosity riddled with ever-present ailments and crushing oppositions. Along with silent narratives and music which truly speaks to the heart, it's difficult not to be impressed by the entire production, especially since the topics were addressed most commendably. Feted Syrian critic, Rafik El-Sabban, lamented in his speech, “The struggles to actually achieve a screening like this are historical to say the least and that commercial cinema should make a more concerted effort to celebrate young talent with so much to say.” Vigorous, real and beautiful, was what he used to describe Egyptian independent films and he hoped that the strictly adult audience would also sympathize with this, a visionary call; a language and an attitude of freedom and choice. Hammad created waves with his highly controversial first short, “Central,” made four years ago. Undressing as a metaphor seems appropriate here for his razor-sharp confrontation of the reality of a young girl struggling with much more than sexual awakening and an uninhabited existence. He creates a detailed expression, one that tries to dissect a society of undiscovered hues of creativity; not just of a barren surface with a mundane and bleak pathos. Egyptian cinema always seems to explore the ills of society, but often using obvious means. With his second short feature, Hammad encourages, or rather carefully suggests, a personal diagnosis and leaves the audience with the task to sojourn into nostalgia; slightly uncomfortable, unsexy and maybe even cheeky exchanges. “The images presented a sort of solace place, melancholy and also a beautiful language of our streets, where we conduct our every day, ordinary commitments,” audience member, Hassan Karim, noted. Sam Stoeckla, from Switzerland, found nothing too risqué about the societal taboos the film openly discusses, but felt saddened by the lingering message even after the ending. “The shunned beauty of creativity and self expression was what I really connected with, through a somewhat mysterious romance and a plausible silence. Definitely, a message of realism and even lighthearted, colorful humor: definitely pale red,” Islam Sharqawy added. With a limited budget, the four young producers, all friends, managed to tease out a well-crafted, crude awakening from the natural attempts by a generation trying to construct an environment they comprehend. A lonely one; maybe, but one that has certainly been heard.
