Review of Cairo 6,7,8 (2010) by Mikael K — 07 Apr 2013

Mohamed Diab's first feature length movie was released in Egypt merely weeks before what is now called the "Arab Spring" began in the country. It's clearly a part of a wave of Egyptian movies from that time that took bold liberties in critically addressing issues about the Islamic government, corruption and women's rights. "678" tackles the experiences of the silenced women of the country, and the way the patriarchal system protects itself through shaming.

The title refers to a crowded bus line where one of the protagonists experiences repeated sexual harassment. Another protagonist is a young, liberal comedian who decides to be the first woman to oppose the shaming directed at victims and presses charges against a sexual assailant, only to be shunned by family and her community. A third protagonist is a bold woman who is leading a support group for women experiencing sexual harassment, often on a daily basis. The lives of these three women intersect and a mentality of declaring "no more" empowers them to take extreme measures against the masses of men praying on women wherever they go.

Diab directs with confidence and talent and manages to get magnificent performances out of his leading trio. The story is surprisingly bold in taking what is happening in the open but in secret an approaching it in a dramatic but completely plausible way. This film moves forward with force and ambition, keeping the viewer completely engaged the whole way through.

There are some rather obvious problems with the scrip though. It cuts certain logical corners, and even though the pace is fast, you can't help but notice. Also, the way Diab closes his tale in a cathartic happy ending stretches credibility a tad too far. I'm kind of reminded of the more recent fairytale about oppression, "The Help." "678" ends up being almost as Hollywood-convenienced as that. On the other hand, the empowering message this movie clearly aims to communicate perhaps required such an optimistic closure, and to be honest it works well on an emotional level, even as your logic objects. Perhaps a dose of fairytale is acceptable in a film that doesn't shy away from its bold statements and still manages to address it issues through the grey spectrum, avoiding simplification.