The Knower ; The Future of Egyptian Films

Egypt was a pioneer in the visual arts since the days of black and white film, it is a beautiful thing to watch the industry grow and shape itself into becoming more advanced and visually appealing than ever.

The knower is an Egyptian film released in 2021 by synergy productions, it follows the story of Younes (Ahmad Ezz) an infamous hacker turned police officer back for one mission, to catch the person who wronged him in the past, risking his and his family’s lives.

The Knower, the Arab movie scene reshaped

The film is an excellent example of how Egyptian cinema is evolving;

Ahmad Ezz who also apeared in Kira and el Gin the highest-grossing Egyptian movie of all time is the lead actor for the knower.

Showcasing his skills and proving he is a great actor who can handle big-budget films.


The cinematography by (Ahmad AL Morsy) and production design (Ahmed Bakhit) are works of art spanning 4 countries.

That makes it film the only Egyptian film to ever film in 4 countries including Italy Bulgaria and Malaysia.

However, the film’s cliché story struggles to give the film the pop to lift it up beyond the generic action movie trope.

Just like any film, it has its own flaws that to some people it would make or break the film, mainly the protagonist Younes is depicted as a tech wizard superspy that takes matters into his own hands all the while the supporting cast are set aside.

The plot also conveniently solves issues with no bases of realism, but that does not mean that the movie is not enjoyable and the action sequences are very well produced and filmed.


The eerie similarities between the knower and other Hollywood films in the same genre are hard to move past. many scenes have been copied from movies like

Skyfall, The Bourne Identity, John Wick, and Nobody.


Even though the film is stuck in the cliché of the genre, it delivers a fun and entertaining action movie that I enjoyed, all with great cinematography fight sequences, car chase scenes, and a gratifying end.

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