Fresh from being honored at the Very Short Films Festival (VS-FILM) in Ain Sokhna, acclaimed actress Hala Sedky revisits the milestones of her artistic journey — from Qalb El-Leil to her latest television projects, through her collaborations with renowned directors and her renewed partnership with Mohamed Sami. In this in-depth interview with Daily News Egypt, Sedky opens up about her craft, her philosophy of acting, the current drama landscape, and her belief in giving younger generations the space they deserve.
■ How do you evaluate your tribute at the VS-FILM Festival?
My tribute carries special significance because it honors a very challenging cinematic format — the very short film. This genre demands precision, intelligence, and sharp artistic judgment from writers, directors, and actors. I’m happy to see genuine interest in it growing. The festival evolves each year, and the rise in participating films reflects increasing trust among filmmakers. I felt that my career was judged fairly, and that the years of effort were truly recognized.
■ Why was Qalb El-Leil (Heart of the Night) an irreplaceable milestone in your career?
Because it brought together three giants of artistic history: Naguib Mahfouz, Atef El-Tayeb, and Nour El-Sherif. The film was a complete school of learning. Atef El-Tayeb’s attention to detail shaped me profoundly — he viewed the character from the inside and through her environment. That experience influenced my artistic trajectory and changed my understanding of the profession.
■ What do you remember most from working with Atef El-Tayeb?
His insistence on authenticity — in appearance, behavior, and the texture of life. In Qalb El-Leil, where I played a gypsy girl, he insisted that every external detail reflect her world. His precision made the character fully believable. He was a director who gave actors the space to search for truth in their performance.
■ When did your true awareness of acting begin?
It began in childhood. I used to imitate actors, and Soad Hosny was my first inspiration. I wanted to join the Higher Institute of Cinema, but my family initially objected. Still, the passion remained and I eventually found my way. My earliest drive came from the belief that art was where I truly belonged.
■ How do you view your experience in Ya Dunia Ya Gharami?
It is one of the most important roles I’ve ever played. I turned it down twice, and it had originally been offered to Athar El-Hakim. But the character required a very specific emotional tone, and eventually I felt compelled to accept it. She was real, full of contradictions, and the film gave me a chance to deliver a performance that connected deeply with audiences.
■ You’ve worked with director Mohamed Sami twice. How do you evaluate this experience?
Mohamed Sami is exceptionally talented. He studied music, writes and composes, understands drama, and even acted during university. This gives him a director’s vision enhanced by an instinctive feel for performance. He belongs to the category of directors who write their own work, which allows them to shape actors’ performances in harmony with their narrative vision. This approach existed with Youssef Chahine, who guided actors toward specific expressive styles.
■ Is it healthy for a director to dictate the performance rather than leave it to the actor’s intuition?
The director is the primary vision-holder, so it’s natural for him to guide me. My role is to execute his direction with my emotional depth and artistic instinct. We may disagree at times, but in the end, I trust that he sees the bigger picture. In our latest work, I was genuinely worried about losing the audience’s affection for the character “Safsaf,” but I trusted his judgment.
■ Some questioned your statement comparing Mohamed Sami with Atef El-Tayeb and Youssef Chahine. How do you clarify this?
I wasn’t making a literal comparison. I meant that Mohamed Sami carries traces of each great director I’ve worked with. Chahine had a unique method of shaping performances and wrote his own scripts. Atef El-Tayeb was meticulous — for instance, in Qalb El-Leil, he focused on something as small as the character’s fingernails to reflect her environment. Hassan El-Imam mastered the use of dramatic “spices.”
Mohamed Sami has qualities drawn from all of them — without diminishing their individuality or greatness. This is simply an observation based on my experience with these masters.
■ The series Esh Esh portrayed the world of folk dancers in an unconventional way. What was your impression?
Folk dancers are part of our society, yet classic Egyptian cinema often portrayed them unjustly or superficially. Esh Esh doesn’t fully immerse itself in that world, but it reflects a realistic slice of it. The goal is to present the dancer as a human being — someone with emotions, struggles, and a life. That’s what younger audiences need to see.
■ How did you approach your role in the series Qahwat Al-Mahatta?
I appeared as a guest star, but it’s a meaningful role. The script by Abdel-Rahim Kamal is exceptional, and the project relies heavily on young actors. That makes me very happy — the new generation deserves the spotlight.
■ Why did you accept a guest-star role?
For several reasons: the script is strong, the director Islam Khairy is talented, and the production company Synergy is one I value greatly. And the character itself was unlike anything I had played before.
■ You were among the first actresses to embrace joint projects led by younger stars. Do you consider this a forward-looking vision?
Yes. I’ve reached a stage where I no longer need to prove anything. I’ve won awards, led major productions, and built a lasting bond with the audience. It’s time to open doors for young talent. Many actors disappear because they refuse to move beyond a certain phase in their careers. A wise actor knows when to step back and let others grow.
In Qahwat Al-Mahatta, I appear in fewer than ten scenes — yet I enjoy every moment. When I first started, I worked alongside legendary actresses I never dreamed I would meet, and sometimes my name appeared before theirs, which bothered me at the time. But I eventually understood: this is simply how the profession works.
■ How do you see today’s relationship between the artist and the audience?
It is built on respect and trust. The audience is the true measure of an artist’s success. I am grateful that my earlier works continue to be watched and discussed years later.
■ How do you assess the impact of social media on the profession?
Social media offers advantages and challenges. It allows direct communication with viewers, but it also creates pressure and encourages quick judgments. An actor must maintain a healthy distance and handle these platforms with awareness and discipline.
■ What is your reading of the current cinema and TV drama scene?
Egyptian cinema is going through a transitional phase. Many young talents deserve real support. The state’s return to production is an important step, and streaming platforms have created new avenues for content. TV drama is now more diverse, but we still need deeper scripts and, above all, directors with strong artistic vision — the kind that shaped the golden generations.
■ What are your upcoming projects?
Several proposals—both television and cinema—are currently under discussion. I’m evaluating each one carefully to ensure that my next step is a meaningful addition to my journey.
