Skip to content
PG

SUKKAR: SABAABAA W HOUBOUB AL KHARZIZ

Genre
Musical, Family and Drama
Running time
107 minutes
Year
2024
Language
Arabic
Subtitle
English
Country
Egypt
Director
Tamer Mahdy
Bio
Producer
Alaa Awada, Rana Hasnin, Amira Cherquaoui
Cast
Hala Al-Turk, Mohamed Tharwat, Magda Zaki, Reham Al Shanawany, Yasmina El Abed, Moataz Hisham, Hajar Mohammad, Khalid Yaslam, Maria Joma’a, Mohamad Harby, Pavly Reymond, Wadeema Ahmad, Islam Ibrahim, Abdulla Khalid, Omar Khalid, Ali Al Hamidi, Yasel Al To
Scriptwriter
Hiba Mashari Hamada

SHOWTIME

Sat 07. Dec
Culture Square - Auditorium
2:45 PM - 4:42 PM
Price: 140 SAR
Sun 08. Dec
Culture Square - Cinema 2
4:00 PM - 5:52 PM
Price: 40 SAR
A beautiful day turns into a miserable one after the whole city gets infected with chickenpox. The children and the workers in the orphanage get infected as well and they try their best to figure out how to cure themselves. A doctor develops a vaccine for the disease against the approval of the policemen in the city. The children visit a magician called Frotto so he would cure their chickenpox. The children are rushed to the hospital after Frotto's failed attempts to cure them. An angel sent from heaven called Anisa, guides the children after they reach the hospital and she stays with them until the vaccine that is being developed by the doctor gets approved. The annual Circus visits the city and the children get invitations from Daddy- Long-Legs. After attending the Circus, Sukkar and her friends realize that the animals are being mistreated and they make a plan to save them. Sukkar celebrates her birthday in the orphanage with her friends. As a gift, Daddy-Long-Legs grants Sukkar a once in a lifetime opportunity and he sends her to a private school. The children get emotional and a feud occurs between Tarek and Sukkar. The children follow Sukkar to the train station to say goodbye for the last time but they get shocked at the quick transformation that happened with their dearest friend.

Other movies

SMILE THE PHOTO COMES OUT BETTER

Director: Sherif Arafa

Photographer Sayed Gharib worries when his daughter Tahani moves to Cairo to study medicine, concerns that prove justified when she struggles to fit in with her privileged fellow students. His solution is to follow her to the city, moving close to the school where she studies. While she is falling in love with the son of a famous businessman, Sayed continues to take pictures. He has strong ideas about photographs of people, which reflect his own sense of dignity in poverty but is also his strongest professional principle. They must look happy; no matter how much sadness anyone carries with them, photographs must express joy. Mona Zaki plays in this film with other important Arab actors, including Ahmed Zaki and Leila Eloui.

YALLA PARKOUR

Director: Areeb Zuaiter

One of Zuaiter’s strongest memories of her mother is her radiant smile as a young woman on the beach in Gaza on one of the family’s regular holidays to Palestine. Her cousins would mock Areeb’s “outsider” accent, but according to her mother, this was where she belonged. From her current home in the US, Zuaiter combs the web for images that evoke something of her mother and finds teenager Ahmed Matar and his friends, a parkour team who use the ruins of Gaza’s bombed buildings as obstacle courses, laughing for joy against a background of explosions. She tracks Ahmed down online and the two become friends; meanwhile, he is determined that parkour will be his route out of the prison their shared homeland has become.

FRONT ROW

Director: Merzak Allouache

Zhola Bouderbala and her five children wake up at dawn on a hot day and prepare to spend their first summer’s day at the beach. It is imperative to get there early, in order to get a spot in “the front row”, with an uninterrupted view of the beautiful sea. As the first to arrive, the family settles at the water’s edge; an idyllic day beckons. Then, when another family arrives, there is an unexpected disaster. Merzak Allouache, whose earlier film Omar Gatlato marked a turning point in Algerian cinema, gives us characters with wit, zest for life and an and endearing innocence. His ongoing exploration of contemporary Algeria, in all its charm and complexity, confirms his status as a cinematic pioneer.

EEPHUS

Director: Carson Lund

New England, an amateur baseball game is being played in front of empty stands, from morning until nightfall. It’s the team's last match: tomorrow, the demolition of the arena will begin. Eephus refers to a particular pitch – a slow curveball that is difficult to hit – but one doesn't need to know the rules of baseball to grasp the ways of this world: a certain American, rural and masculinist culture. Awkward, aging and out of shape, the men  are as enthusiastic about  the drinks they bring to the game as they are about bats and balls. The bonds forged by the game are deep, however -  and, by extension, so is their love of baseball itself in this touching and funny analogy of America.