Eagles Of The Republic ★★★★

Released: 22 May 2026

Director: Tarik Saleh

Starring: Fares Fares, Lyna Khoudri, Amr Waked, Cherien Dabis

“Who even are you?” utters an exasperated son to his father in the acclaimed Eagles of the Republic during an awkward birthday dinner. Indeed, his father is the so called Pharaoh of the Screen, George Fahmy, a renowned actor on the Egyptian cinema scene in a tour de force performance by Fares Fares. The question could refer to the chameleonic nature of his father’s profession were this a coming-of-age film. However, in the hands of talented director Tarek Saleh and as the final part of his Cairo trilogy, this question pierces the heart of Eagles of the Republic which is stuffed full of delicious political intrigue and insightful commentary. George falls prey to a Catch 22 scenario and unwittingly becomes an acting pawn in high stakes, power grabbing, strategic gameplay.

Saleh’s Eagles of the Republic title refers to the name proudly uttered by government officials, in back slapping moments, who proudly applaud their own output and positive representation of their image within clandestine meetings. George is reluctantly included as part of that representation in this subversion of a mise-en-abyme and yet he is not the archetypal, naive, innocent bystander caught in the crossfire. Instead, George deliberately satisfies that stereotypically suave leading man persona à la that lovable rogue of a character, James Bond. George fulfils his perceived role as a “love ‘em and leave ‘em” type with a string of leading ladies behind him, half his age, and every nuance in his life appears to involve him playing a role and being the epitome of an actor. It is an aspect that his son calls him out about mentioning that George hangs around with people that he doesn’t like and others put George down, in the rare moments when he develops a moral compass, to tell him to know his place and ‘act’ the part.

As such, it is difficult for sympathy to be levelled in George’s direction when he is initially replaced on a film set. Cleverly, Saleh demonstrates that the reprieve offered to George, to act as the president in a propaganda based film, is full of pitfalls that impact others within George’s sphere of reference who choose to be loyal to him.

Despite an initial presentation of a homage to the Golden age of Egyptian cinema with insights into the working on set, references to Antonioni films and George’s rituals, including parking his trailer in a privileged spot and being treated like royalty, the tone markedly shifts to become darker when the creatives lose control and the new set is controlled by the authorities with heavy censorship in effect.

Effectively, George is doomed from either perspective, in a pressure cooker environment, having to perform a perfectly positive portrayal of a still living president with a high set of consequences. Saleh thus introduces discussion surrounding the necessity for creative freedom without political interference with George as his mouth piece as that voice being critical of authoritarian practices. Saleh pushes the boundaries further to destroy the carefully constructed facade built by George who inexplicably makes a volte-face to his peers and the nation at large. Unable to confide in anyone, George is on the precipice as increased threats present themselves and he faces choices alone with Saleh’s direction expertly upping the anxiety fuelled quotient!

The film remains gripping throughout with shadowy characters monitoring proceedings similar to the humane secret agent in the German film The Lived of Others, such as Dr Mansoura, chilling played by Amr Waked, who rises his head above the parapet to ensure efficiencies. Interestingly, despite being in the employment of the ruling party, Dr Mansour is the antithesis to George, as a no-nonsense straight talking individual who denounced George as a liar, on more than one occasion. Excitingly, this ambiguousness with good guys being bad but bad guys being good unveils a fascinating outlook to the human condition and will no doubt be the substance for many film studies essays!

All providing an engrossing, multi-faceted appeal as Saleh scrutinises the substance of celebrity endorsements for political regimes and their campaigns. His critique is unsubtle but rich to provoke meaningful discussions thereafter but there may be criticisms as to whether he is probing far enough. These criticisms may be partially addressed in those instances where Saleh refuses to allow the ongoing tension to relent as George is literally and physically squeezed from all perspectives, causing his previously superficial demeanour to mature.

On the other hand, Saleh certainly is outspoken in his opinions on interference within the arts and the murky, insidious political infighting which is a reverberating theme. Plus, in placing the spotlight on the casual use of civilians as collateral damage, by each side, to achieve their means – no matter the cost, he instigates questions whether individuals are powerless to fight systemic practices and nefarious forces. There are no easy solutions presented but this seems to be by design.

Yet, Eagles of the Republic, despite its padding and an unlikable but charming main character, is an entertaining satire with plenty of discourse combined with showcasing an appreciation of the magic of cinema. Undoubtedly, this is an engaging political thriller which was nominated for the Palme D’Or at Cannes in 2025. It’s a hidden gem that deserves to find a large audience, and makes us question which master we choose to serve and the ultimate price involved in stardom and freedom.