This Swedish-Egyptian political thriller, directed by Tarik Saleh, delves into how an authoritarian regime stifles artistic freedom and life in Egypt. Eagles of the Republic wraps up a trilogy that addresses state and religious corruption, following The Nile Hilton Incident (2017) and Cairo Conspiracy (2022), both featuring Fares Fares. I haven’t watched the first two films, but the story isn’t directly connected, even though it deals with similar themes.

I’ve always been intrigued by stories involving filmmaking, especially those set outside of Hollywood. Fares is George Fahmy, famously known in Egypt as the Pharaoh of the Screen, and he’s got the charm and swagger befitting of such a moniker. The tall, lanky, impeccably dressed George is definitely a ladies’ man with a twinkle in his eye. Separated from his wife (Donia Massoud), he tries to be a good dad to his only son Ramy (Suhaib Nashwan), who’s studying at an American university in Cairo. George lives in his swanky apartment with an ingenue half his age, Donya (Lyna Khoudri), and drives around town in his classic Jaguar. He seems untouchable by the regime, that is, until he’s pressured to portray the president in a propaganda film. Never mind that President El-Sisi looks nothing like him and is much shorter in stature.

I’m not completely up to speed on Egyptian politics, but having grown up under a dictatorship in Indonesia, the themes of power and corruption are not foreign to me. At times, the tone feels a bit comedic, especially during the filmmaking scenes, as there’s constant conflict between George and the film director. The regime’s ridiculous demands can be pretty funny as well, though it’s not lost to me that the situation is dire. It’s pretty alarming but not unsurprising that artists have to sell their souls in order to survive. In the first act, we find out that George and his family are Coptic Christians, a minority in a country that’s mostly Muslim (90% Sunni Muslim). Maybe that’s one of the reasons he’s being targeted?

The film also highlights how female artists face way more challenges than their male counterparts. George’s co-star, Rula Haddad (Cherien Dabis), is forbidden to keep acting by the regime. Before long, she becomes a victim of sexual harassment from a powerful general, which is partly George’s doing. On the other hand, the general’s stunning, French-educated wife, Suzanne (Zineb Triki), seems stuck in her marriage, which leads to her affair with George.

There are plenty of fascinating characters as George gets further caught up in the government conspiracy. Most members of the regime aren’t too memorable, except for the mysterious Dr. Mansour (played by the piercing-eyed Amr Waked), the president’s right-hand man. Mansour is always on set to make sure the film aligns with the regime’s objectives, but I can’t quite tell whose side he’s really on. Waked gives off a really intimidating vibe that’s used effectively, and his character remains an enigma until the end.

The Lebanese-Swedish Fares is a charismatic actor with a strong screen presence. I’ve spotted him in minor roles in Hollywood films, but this is the first time I’ve seen him in a leading role. George leads a glamorous life as a movie star, hopping from one upscale bar to another and getting invited to fancy parties thrown by the regime. He is aware of the advantages that come with being part of the powerful elite, even though it clearly gnaws away at him inside.

George attempts to wield his influence for good, like when he assists a neighbor whose son was arrested for sharing something online that the regime doesn’t approve of. He also provides financial help to Rula, but I can’t help but wonder if he could have done even more for her.

The film is mostly a political drama; the thriller aspect doesn’t come until close to the third act. What starts as a typical military celebration suddenly erupts into violence, with George literally caught in the chaos. The scene feels jarring as the tone shifts dramatically from what I’ve been watching. I was hoping that by now I’d have a clearer grasp of the story, but it actually becomes more convoluted.

The first half is definitely more engaging than the second, and even with all the terrible events, the film feels oddly emotionally distant. The relationship between George and Suzanne lacks any real heat, despite their flirty moments at a party earlier in the film. We also find out that George’s gay agent/manager, Fawzy (Ahmed Khairy), met a tragic end, but it’s only briefly mentioned and doesn’t carry much weight.

Saleh teamed up with Swedish-based freelance writer Magdi Abdelhadi on the screenplay. He also used to be an Arab affairs analyst for the BBC. Those with a deeper understanding of Arab politics might find this film even more engaging. Saleh creates a vibrant and stylish film that feels cinematic. Shot in Istanbul, it features stunning cinematography by French director of photography Pierre Aïm. The score is composed by Oscar-winning Alexandre Desplat, although it doesn’t quite stand out like his recent projects such as Frankenstein or Little Women.

In general, Eagles of the Republic leans a bit towards style over substance, ironically similar to its screen-idol protagonist. There’s an intriguing and significant story worth telling here, but it doesn’t quite come together as the film struggles to find its footing narratively. What Saleh presents here is more entertaining than genuinely impactful, but there’s still plenty to appreciate to warrant a recommendation.