Internalized homophobia is a force that can be incredibly powerful. We often think of it as a lingering sense of shame or something that fades away once someone comes out, but in reality, it manifests in many different ways and is often deeply shaped by cultural contexts. We’ve seen numerous films dealing with homosexuality and religion, but add in elements like superstition and witchcraft, and you create a genre that’s not often explored in contemporary gay cinema. Set against the backdrop of Egypt, a country with a visually stunning landscape, this film becomes a taut, suspenseful thriller about gay men struggling to reconcile their sexual identities with their families’ religious convictions. It builds intensity through several jump scares but remains carefully crafted in its approach.
Mo and Hisham, a couple, travel to Egypt to meet Mo’s mother after the recent death of his father. Due to the highly homophobic environment in Egypt, they must pretend to be just friends for their own safety. Returning to Egypt, however, makes Mo anxious and uneasy, as he has a past that slowly unravels throughout the film. When Sara Hegazi, an Egyptian lesbian activist, tragically commits suicide after being imprisoned and tortured for waving a rainbow flag at a concert in Cairo, Mo’s own struggles intensify. Hisham, out of a desire to keep them both safe, decides to avoid doing anything “gay” in public. This leads to a realization that Mo still views their relationship as sinful.
When Mo visits his mother, she refuses to meet him, and instead, an old adversary is there. This woman engages in witchcraft on Mo, triggering a series of hallucinations. A haunting metallic scraping sound starts to follow him, and a mysterious child in shackles seems to stalk him. Mo begins questioning his own sanity—are the things he’s seeing real, or is it just paranoia? With the help of Hisham’s mother, they attempt to reverse the curse. However, stepping into the world of witchcraft awakens childhood fears and deep-rooted religious anxieties. Mo becomes terrified that his shame will be exposed to Hisham. Through flashbacks, we learn how Mo was shamed as a child and sent to Egypt for “treatment” of his sinful thoughts in a prison-like environment. Slowly, the judgment day he always feared, the god he resented, his mother’s opposition, and his sins begin to literally haunt him through the witchcraft, leading to the confrontation Mo dreads.
The film explores the complex relationship between religion and superstition, particularly how local witchcraft traditions are intertwined with Islam. The guilt Mo and Hisham feel about their sexuality manifests in different ways, placing immense pressure on their relationship, which serves as Mo’s only connection to reality. The film artfully blends elements of reality and horror, keeping the audience wondering whether what Mo is experiencing is psychological or supernatural. Some viewers may be frustrated by the blurred lines between fact and fiction, but for me, it didn’t matter. What mattered was the internal damage Mo carries from his childhood trauma, regardless of whether what he experiences is real or imagined. I found it a fascinating and unique approach to portraying such internal struggles.
The theme of Islam and homosexuality is something that has always intrigued me, so with Egypt as the setting, I was naturally excited to watch the film—and it didn’t disappoint. The chemistry between the two leads is undeniable, and they look absolutely stunning together on screen, especially Mo. Both actors are excellent, bringing the director’s vision to life. The film concludes on a positive and hopeful note when Hisham’s mother offers her blessing to the couple and prays aloud, saying, “Make the country safe for them.” Although the film could have been even better, it does a fantastic job delivering its message. Some might find the blurred lines between fact and fiction frustrating, but for me, it didn’t detract from the powerful message the film was trying to convey.
