In 2013, in Cairo, a tragic fate brings together several detainees from different political and social backgrounds inside a police truck, during the turmoil that followed the ousting of president M...
Clash claustrophobically confines the convulsions of Egyptian revolution, yet unable to accelerate its policing vehicle. The Egyptian coup d’état of ‘13 was one of the most significant religious political uprisings of modern history. The ousting of President Mohamed Morsi, an Islamist and affiliate of the Muslim Brotherhood organisation, was a result of hardened protests between pro-Morsi supporters and the Egyptian army, which also included oppositional demonstrators such as liberals, secularists and devout Christians. It was religious sociopolitical warfare. Egypt no longer an idyllic destination for mass tourism, but a battleground that transformed peaceful demonstrations into ideological clashes. Dozens were killed. With many perceiving Morsi’s constitutional declarations as totalitarianism.
Diab’s internationally co-produced dramatic endeavour condenses the root of terrorism and human condition into the metallic confinements of a police van, containing members of both supporting groups and other neutral individuals. A microcosm for the fight many civilians participated in, specifically the Egyptian revolution of ‘11, and its eventual fall. Set during the aftermath of Morsi’s ousting, the societal unrest of Cairo resulted in casualties. Religiously and politically neutral souls were caught in a clash powered by such surges of indoctrination.
Diab, also presenting the depiction from a neutral standpoint, seeks to illustrate the escalation in chaos through supposed order. The sensitive subject of police brutality and its legality. The fluctuating resentment and theological understanding for both supporting groups, particularly when survival is at stake or abiding by muslim principles. The disturbing usage of violence to obtain peace. The claustrophobic environment of the policing vehicle, enhanced severely by Gabr’s close and personal cinematography, ascertains the historic prevalence of these protests and the societal degradation that follows. Diab, whom never removes the camera from the confinements of the van, creates an explicitly visceral microcosm for revolution and its often questionable approach. Commencing and concluding his feature with cruel thrills that mourn the desolation for Cairo’s civilisation. With the sole half-American character being the first detained individual, Diab also thematically incites the apparent exaggerated media representation from Western nations. Locking their fabrications with modern Egyptian society.
Regrettably, after a promising start, Diab stops accelerating the tension. The police van halts. Its prisoners sweltering in the humidity of urban Cairo, obtaining minimal characterisation and background politics. Despite the fluctuating argumentative behaviours of these individuals, Clash unfortunately felt restrained. Almost frightened to fully illustrate the disturbing cruelty of these mass clashes. The entirety of the second third was repetitious in structure, relying on brute characterisation that was not to be found for the vast majority of characters. Two friends arguing over one of their sisters. A homeless man reminiscing over his recently deceased dog. An actor/singer entertaining the detainees. These provide human distractions from the societal picture, harnessing a forced injection for the sake of emotive connectivity. Karim’s feisty performance granted her much screen time, but coincidentally that could’ve been as a result of her being the sole female force of empowerment.
In spite of Diab’s neutrality, the expositional background description of the current political climate regarding Morsi did not establish enough substance to generate motives for the two opposing groups. More often than not, characters were shrouded in vagueness. A consequence of this, is that none of them were actually investable. So when the inevitable supposedly heart-wrenching ending clash commences, the fates of these individuals felt inconsequential. Whilst that may portray an accurate reflection of modern Egypt, it doesn’t necessarily create a fully enticing feature.
Clash is a politically-charged conceptual film. A deliberately original experience that captivated through its microcosmic portrait of a segregated Egypt. Unfortunately, Diab just didn’t fully accelerate its triumphant portrayal to maximum velocity, often leaving its inconsistent pacing in neutral. Focusing on menial characterised arguments rather than the bigger picture.
