Eagles Of The Republic, directed by Swedish-Egyptian filmmaker Tarik Saleh, is positioned as the final chapter of his loosely connected Cairo Trilogy. Following earlier works that explored drug crime and religious corruption in Egypt, this film takes on the country’s current authoritarian political climate.
At its core is George Fahmy (Fares Fares), an Egyptian movie star who is coerced into starring in a state propaganda biopic glorifying President El-Sisi. This setup offers a provocative look at the intersection of celebrity, art, and autocracy.
Saleh’s personal background, living in Sweden but rooted in Egyptian realities, allows him the freedom to be more forthright in dissecting the murky relationship between Egyptian political power and the film industry.
The film initially balances satire and dark humor as George navigates the surreal and dangerous world of propaganda filmmaking. His character’s reluctant transformation from defiant actor to a pawn in the regime’s narrative reflects the broader tension faced by artists in oppressive states.
Critics highlight the film’s promising start, praising its cultural authenticity, style, and commentary on political spectacle. The satire of George’s inflated ego and the caricature-like portrayal of El-Sisi initially create compelling tension.
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Tarik Saleh’s direction effectively builds atmosphere with strong camerawork and sound design, underplaying propaganda with subtle yet invasive political pressure. Yet, as the narrative progresses, the satire’s sharpness blunts, and the film struggles to maintain coherence and energy.
Lost in Plot: Narrative Fissures Cloud the Message
While the premise hooks viewers with its topicality and unique meta approach, showing the making of propaganda inside a dictatorship, the plot falls into a confusing spiral midway.
After George agrees to a loyalty speech amid a military parade honoring war dead, a poorly developed coup attempt triggers chaos, dragging the film into murky waters. Rather than clarifying the stakes or deepening political insight, the story becomes convoluted, undermining viewer engagement.
Several reviews cite this as a critical weakness. Key moments seem unearned or under-explained, and character arcs beyond George are underdeveloped. This weakens the film’s emotional and political impact, with many characters feeling more like symbols than flesh-and-blood people.
The tension intended to underscore the dangers of compliance with tyranny dissipates into a series of narrative puzzles that don’t quite fit together. Editing choices also contribute to pacing issues, and attempts at humor sometimes jar with the gravity of the subject matter.
Nevertheless, the lead performance by Fares Fares remains a highlight. His portrayal navigates George’s arrogance, vulnerability, and increasing entrapment with nuance, bringing humanity to a story that risks becoming a cold political allegory.
Scenes blending dark comedy with stark political reality, such as a pharmacy visit where George is teased about Viagra, add layers of irony, balancing the film’s bleakness. Saleh’s attempt to fuse thriller elements with biting political critique is ambitious, if not fully realized.
When Art Meets Power: Reflections on Propaganda and Resistance
Eagles of the Republic functions as a thought-provoking exploration of how autocratic regimes manipulate art and artists to maintain control.
George’s reluctant participation in the propaganda film captures the false hope many creatives face under dictatorships: the illusion of influence versus the reality of coercion. For artists in such regimes, freedom is an elusive concept, shaped more by survival than creative expression.
The film also highlights the personal cost of involvement with corrupt power. George’s affair with a senior politician’s wife and his gradual entanglement with intelligence agencies symbolize the maze of control and surveillance engulfing dissent.
Saleh’s narrative warns that even fame and popularity cannot shield one from the ruthless mechanisms of authoritarian control.
Despite its flaws, Eagles of the Republic shines brightest when reflecting these dynamics, especially in its final act, where tension peaks and consequences become unavoidable.
Saleh’s film suggests solidarity in community and personal relationships, instead of appealing to oppressive states, as a source of resilience. This message, rooted in the current Egyptian political context, resonates far beyond its cinematic setting.
Eagles of the Republic is an uneven but provocative film that offers a fresh angle on political cinema by focusing on the blurred lines between art and propaganda under dictatorship. It raises urgent questions about complicity, power, and survival in repressive environments, though its storytelling struggles to match its ambition.
For watchers interested in politically conscious cinema with a thriller edge, this film provides enough to stimulate discussion even if it falls short of complete narrative satisfaction.
The film premiered at TIFF 2025 and has sparked debate for its daring approach and mixed execution. As Tarik Saleh wraps up his Cairo Trilogy, it confirms his distinctive voice in contemporary political cinema, bold, incisive, yet imperfect in balancing story and theme.
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