Youhanna Nagy

The last monk in an abandoned chapel dreams his way through a dying city and his own inner conflicts, paying whatever it takes to return home.

In a world full of technology manner to communicate with each other, D&A, hopeless lovers, have only the sea to send their letters through. Between the two countries they have the same fears,that their letters will never arrives, so they send another letter to express their fears.

Arriving Late

With the lack of personal video archive, Youhanna (the filmmaker) creates false memories using lost home videotapes shot between the 1990s and 2000s in Europe, Africa, and Asia, with the help of an Artificial intelligence programme, until a real, personal video archive surfaces, transporting him into the past to relive one more memory with his late mother.

Mourad, a taxi driver, is grappling with haunting visions of his wife and daughter who recently drowned. These harrowing images have driven him to escape from the confines of his home, taking refuge in the familiar setting of his trusty taxi. Along the way, he encounters an old man who regales him with a timeless tale of resurrection. This encounter prompts Mourad to embark on a journey to fulfill the legendary story, one that will ultimately force him to confront his own destiny in solitude.

Three children take advantage of their mother leaving the house to try to indulge in things they are not allowed to do in her presence, experiencing—alongside fear—new feelings for the first time.

It’s the Holy Week in Egypt. As the quarantine is still imposed, the local Coptic communities have decided to use the virtual world to carry on their annual rituals. In the meantime, Youhanna tries to teach his grandmother how to use modern-day technology to stay in touch with her friends during the lockdown. The prayers are performed online, although affected by the uneven internet connections. Youhanna’s only escape is the online video calls with his friends. Reflecting on the global situation that has suspended all social activities around the globe, he starts to document his ordinary day-by-day life.

While making his graduation film in Cairo, Omar Ibrahim learns that his home country, Sudan, is being shaken by revolution. In the film’s fictional story, a family is unable to bury their deceased child – a theme that strangely echoes the sense of powerlessness experienced by the filmmaker who, in Nothing Happens After the Revolution, reflects on exile.