By: Yomna Walid&nbsp;
With each story told over three episodes, "El Qessa El Kamla" goes beyond the headlines to explore the human stories behind real-life criminal cases.
In an exclusive interview with NileFM, Egyptian producer and director Magdy El Hawary discusses the creative vision behind the series, his collaboration with storyteller Sameh Sanad and the process of selecting real-life cases for television. He also explains the importance of respecting the facts when adapting real events for drama and why he believes crime stories should be explored through their human dimensions.
El Hawary also talks about Kinda Alloush&rsquo;s upcoming role in "El Mataha," hints at potential collaborations with Ahmed Mekky and Mostafa Gharieb, and shares details of his upcoming projects.
Rather than focusing solely on the crimes, "El Qessa El Kamla" explores the circumstances, decisions and events that lead to each case, offering a closer look at the people behind the headlines.
What was the creative vision behind selecting the cases featured in "El Qessa El Kamla," particularly those that sparked controversy and attracted public attention?
From the beginning, our goal was not to select the most notorious or violent crimes. The crime itself does not make a drama. We were looking for the human story behind the headlines: an apparently ordinary household, a relationship that gradually deteriorates, or small decisions that accumulate until they lead to a point of no return.
Our main criterion was that each case should raise questions beyond simply asking who committed the crime. We wanted to explore how the story began, why it reached such an ending and whether anything could have been done to prevent it.
That is why we tell each story over just three episodes, using a realistic and distinctive narrative structure. Rather than beginning with the investigation and then returning to the past, we follow the characters from the beginning, exploring the circumstances and decisions that ultimately lead to the consequences we see.
We do not simply recreate crime scenes. We try to discover the human being behind each case.
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Was there a particular case you wanted to include in "El Qessa El Kamla" but were unable to?
Certainly. There are many cases I would have liked to explore, some of which have considerable dramatic and human potential. However, not every real-life case is suitable for adaptation.
Sometimes the available information is incomplete, the necessary rights are unavailable, or there are legal and humanitarian considerations involving people who are still alive.
In other cases, the crime itself may be compelling, but there may not be enough character development or a sufficiently substantial human journey to sustain three episodes without inventing details or omitting important facts.
I believe respecting the truth is more important than our desire to tell an interesting story. If we cannot find a responsible way to adapt a case without doing anyone an injustice or presenting unverified claims as facts, it is better to postpone it until the circumstances are right or not present it at all.
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Kinda Alloush has recently been announced as part of the cast of "El Mataha." Can you reveal any further details about the cast or other names joining the production?
Kinda Alloush&rsquo;s involvement in "El Mataha" is a significant addition. She is an actress with great sensitivity and intelligence, capable of portraying complex characters without exaggeration.
The story requires an actress who can make the audience believe in and sympathise with her character, while keeping them uncertain about what is happening beneath the surface.
There are indeed some surprises, and we are currently in negotiations with several prominent names. However, I prefer not to announce anyone until the agreements are finalised.
I can say that "El Mataha" will have a distinctive psychological and visual identity, with an unexpected combination of actors. We are not bringing people together simply to create an impressive cast list. Every actor is chosen because they are right for the character and can contribute to the story, rather than simply attracting publicity.
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What would you like audiences to take away from "El Qessa El Kamla"?
I do not want audiences to leave with a direct message that sounds like a moral lesson at the end of a school essay. I want them to reflect and ask questions, because the questions that remain after an episode ends are often more important than ready-made answers.
"El Qessa El Kamla" does not suggest that evil emerges suddenly. Instead, it explores how it can develop through seemingly insignificant details in our relationships and everyday lives: violence we choose to ignore, greed we justify, love we mistake for ownership, or injustice we tolerate because it is committed by someone we care about.
I hope viewers come to understand that a crime is not simply the final act in a story. Sometimes, it has a long history of silence, fear and poor decisions behind it.
Audiences may begin watching as though they are investigating a crime, but I hope they leave asking themselves a different question: when did the crime really begin, and could anyone have prevented it?
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You recently shared a photograph with Ahmed Mekky and Mostafa Gharieb. Could we see the three of you working together on a project soon?
Ahmed Mekky and Mostafa Gharieb are both friends and artists I greatly admire and appreciate. The photograph captured a lovely moment between us, but it was not an official announcement of a project.
Of course, I hope we can work together soon. Each of them has a distinctive artistic identity and a unique presence.
However, I have learnt not to announce a project until its concept and details are fully developed and it is genuinely ready to go into production.
Conversations between artists are ongoing, and sometimes photographs may hint at ideas behind the scenes. But an idea remains just an idea until it becomes a script, a contract and, eventually, a production.
Following "El Qessa El Kamla," what kinds of stories or formats would you like to explore in your future work?
"El Qessa El Kamla" has brought me back to the area I love: creating formats, rather than simply producing television series.
I am interested in projects built around a strong idea, a distinct identity and a structure that can evolve and develop, rather than stories that end when they are shown.
I would like to explore the stories of ordinary people, the ones we encounter every day but rarely pay attention to, even though they can be more compelling and influential than fictional stories.
I am also interested in psychological and social drama, particularly stories that incorporate an element of mystery and explore the intersection between drama, reality, digital content and audience interaction.
I want to continue looking for new forms of storytelling. In my view, a producer is not simply a financier or someone who manages a budget. A real producer creates projects, builds their identity and establishes their value. The job is to recognise the potential of an idea before the market does.
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What projects are you currently developing, and what can audiences expect from you in the coming period?
We are continuing to develop new stories within the "El Qessa El Kamla" universe, including "El Mataha," alongside several other cases that are still at the research, writing and selection stages.
My aim is for every title in the series to have its own setting, characters and dramatic approach, while retaining the core identity of the format.
We are also developing new drama projects and formats, but I would prefer to discuss them once all the elements are in place.
For me, the next stage is not about increasing the number of productions. It is about creating projects with a lasting identity and something meaningful to offer both audiences and the industry.
Photo Credit: Magdy El Hawary&rsquo;s official page
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