Eagles of the Republic – first-look review | Little White Lies

Festivals

Eagles of the Repub­lic – first-look review

20 May 2025

Words by David Jenkins

A woman in a gold sequinned dress and a man in a patterned shirt stand together in a room with other people in the background.
A woman in a gold sequinned dress and a man in a patterned shirt stand together in a room with other people in the background.
A slick screen icon becomes a polit­i­cal pawn in this brash movie indus­try satire-cum-polit­i­cal spy thriller from Tarik Saleh.

From films such as István Szabó’s 1981 Mephis­to to Rain­er Wern­er Fassbinder’s Veroni­ka Voss from 1982, we all know that no good comes to artists who chose to bend the knee to fas­cist power­bro­kers. What may ini­tial­ly seem like a clever play for patri­ot­ic cre­do always leads to dis­as­ter when the polit­i­cal high-ups inevitably come tum­bling down from their gild­ed perch.

Egypt­ian film­mak­er Tarik Saleh clos­es off a tril­o­gy of films explor­ing high-lev­el cor­rup­tion in his home­land (pre­ced­ed by 2017’s The Nile Hilton Inci­dent and 2022’s Cairo Con­spir­a­cy), with a glossy por­trait of a mod­ern screen icon whose own cul­tur­al dom­i­nance is forcibly lever­aged by the rul­ing par­ty, and sud­den­ly his lofty image of pro­gres­sive artis­tic excel­lence is trans­formed into some­thing else entirely.

Lead­ing man Fares Fares deliv­ers a com­mand­ing and charis­mat­ic per­for­mance as George Fah­my, known in Egypt as The Pharaoh of the Screen” and whose face adorns movie posters, murals and social media feeds up and down his coun­try. Indeed, the film draws numer­ous allu­sions to ancient times with its city pent­hous­es framed as mod­ern pyra­mids and the rul­ing class as untouch­able elites with the pow­er of life or death.

George is also the bane of the fun­da­men­tal­ist all-female cen­sor­ship board with his sex­u­al­ly sug­ges­tive and amoral movies (one of which includes The First Egypt­ian on the Moon), and his off-screen, Stel­la Artois-quaffing hi-jinx sits him some­where between a cad and a rot­ter, with a son from a wife who he is now sep­a­rat­ed from and young mis­tress­es in apart­ments all over town who all want to get ahead in the movie business.

With the world appar­ent­ly at his feed, George sud­den­ly finds him­self smack-dab in the mid­dle of an eth­i­cal mine­field, when goon-like gov­ern­ment offi­cials sim­ply insist that he not only accept a role in a bloat­ed hagiog­ra­phy of sit­ting (since 2014) Egypt­ian pres­i­dent Abdel Fat­tah al-Sis­si, but also deliv­er a rous­ing keynote speech at an upcom­ing mil­i­tary parade on the anniver­sary of the 2013 revolution/​coup d’etat (delete as applic­a­ble) which ensconced Al-Sis­si in power.

It’s a sticky wick­et for sure, but the supreme­ly con­fi­dent George feels that his lev­el of celebri­ty is such that he’ll come out of all this smelling of ros­es, and with a fat pay­cheque from his dubi­ous, bureau­crat­i­cal­ly top-heavy pay­mas­ters. The pres­ence of a per­son known as Dr. Man­sour (Amr Waked) on set who seems to be pulling the strings of the avatar direc­tor, sets up the first of many dark play­ers on our hero’s increas­ing­ly dicey jour­ney into the unknown.

Ini­tial­ly, Saleh’s film sug­gests itself as a gaudy ensem­ble satire that hits its fish-in-bar­rel tar­gets with ami­able pre­ci­sion. The idea of a film pro­duc­tion that’s being made by com­mit­tee per­haps tran­scends the con­text behind this sto­ry and could be a stand-in for the major­i­ty of big stu­dio pro­duc­tions across the globe. Yet the film piv­ots awk­ward­ly into polit­i­cal thriller ter­ri­to­ry, as shady gov­ern­ment enforcers are very quick to prove that they have ways of mak­ing you act.

It’s a slick and fit­ful­ly amus­ing affair that nev­er quite pen­e­trates deep­er than the sur­face in its broad cri­tique of the uncom­fort­able inter­sec­tions between cul­ture and state. George has his agency and pow­er drained from him, and the film duly los­es inter­est as he becomes lit­tle more than a hand­some­ly turned-out tum­ble­weed in the winds of unscrupu­lous power.

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