Netflix Shines Spotlight on Egyptian Youssef Chahine’s Filmography

Egyptian director Youssef Chahine is in the spotlight this month on Netflix after streaming platform added 4 of his films to its online catalog.

 With a career spanning 58 years and over 40 films, Youssef Chahine is one of the most prolific and relevant film directors of the MENA region.

Named “the pioneer of social realism” in Egyptian cinema, his unique style and bold choices brought him international acclaim and paved the way for new generations of filmmakers in the region.

Youssef Chahine in short

Youssef Chahine was born in Alexandria in 1926. At the age of 21, he left Egypt to study cinema in Los Angeles. Armed with talent and a critical eye, he came back to Egypt to capture some of the most beautiful places of Alexandria, a city that is so vividly present in his filmography.

In his movies, Chahine tackled sensitive subjects, even if it meant facing censorship, exile, and lawsuits.

He won the Cannes Festival’s 50th Anniversary Prize for lifetime achievement in 1997. Ten years later, he won a second-lifetime achievement award at the Dubai international film festival. He died in 2008 at the age of 82.

This month, Netflix introduces Youssef Chahine filmography to its millions of viewers worldwide.  The platform selected four of Chahine’s major productions.

From award-winning movies and banned films, the Netflix selection highlights the cinematic genius of Chahine and proves why he is still one of the most relevant Arab film directors to date.

Alexandria, Why? (1978)

Winner of the 1979 prestigious Silver Bear award at the Berlinale, Alexandria, Why? is the first of a semi-autobiographical trilogy and is one of Youssef Chahine’s most popular films.

Set against the backdrop of Alexandria during World War II, the film centers around a young man who dreams of becoming an actor. In his journey, the protagonist is faced with many dramatic hurdles. Hilarious at times, the movie also delivers a subtle anti-war message.

Alexandria, Why? marked a clear break fromChahine’s earlier 1950s musicals and melodramas.

Alexandria Again and Forever (1990)

In the third film of his semi-autobiographical trilogy, Chahine steps in as an actor to play Yehia, a filmmaker who joins a strike protesting inequalities in the film industry.

Yehia is a recurring character whose life is chronicled in “Alexandria, Why?” and “An Egyptian Story,” the first two films of the trilogy.

Set in 1987, the film takes a hard look at the transformations happening in the Egyptian film industry, and the influence of money on creativity.  It is also memorable for the dazzling tap dance duet between the main characters Amr and Yehia.

The Blazing Sun (1954)

The Blazing Sun saw the debut of Egyptian film icon Omar Sharif and his on-screen-off-screen love story with Egyptian Star Faten Hamama.

The film recounts a family rivalry in the Egyptian countryside through a love story between its two leads.

Considered to be Chahine’s first socially-conscious work, the film sheds the light on tensions between the aristocracy and the working class and highlights the fight against oppression.

The Emigrant (1995)

This movie portrays the epic biblical tale of Joseph, son of Jacob, from the Egyptian perspective.

Ram who plays the character of Joseph is an intellectual who dreams of leaving his family’s nomadic life behind to study agriculture in Egypt, the hub of civilization.

The Emigrant touched on Chahine’s concerns about contemporary Egyptian society.

The movie caused quite a stir upon its release and was banned twice by Egyptian authorities

The first ban was due to a lawsuit made by a fundamentalist lawyer. After a year-long court battle, Chahine won the case, only to have his film pulled again from the screens, because of a lawsuit initiated by a Christian lawyer, who condemned the liberal interpretations of the Biblical story.

The film was also deemed inappropriate for Jewish audiences because of Chahine’s reworking of a familiar Old Testament tale.

 

Read also: Netflix’s First Saudi thriller “Whispers” to Air in June

Beirut NGOs Launch Emergency Fund for Lebanon’s Struggling Art Scene

In May two Beirut-based organizations, the Arab Fund For Arts and Culture (Afac) and Culture Resource (Al Mawred Al Thaqafy), launched a $1 million dollar fund to support cultural institutions struggling to survive in Lebanon. 

The country is currently experiencing the worst financial crisis in its history with its currency losing 70% of its value against the Dollar since October 2019. Anti-corruption protests, which began late last year, led to the toppling of Prime Minister Saad Hariri and his government in December. The coronavirus crisis has worsened the country’s economic woes with almost half of the country’s population thought to be living below the poverty line. 

The economic crisis limits the income citizens have to spend on leisure activities, including cultural endeavors. Earlier this year, Beirut’s Metropolis Empire Sofil cinema was closed down due to a lack of funds. The art-house cinema was the home of screenings, festivals, and events in the capital for more than a decade.  

With economic stress continuing and the country’s banks limiting access to US dollars, many artists and organizations are unable to access much needed funds. In addition, artistic institutions, many of which rely on revenues from ticket sales, have been forced to close due to COVID-19. 

Much needed support 

Grants offered by Afac and Culture Resource will vary in value between $20,000 – $80,000 and can be spent on whatever the winning organizations deem necessary. Afac Executive Director Rima Mismar says, “We do not expect these organisations, at this point in time, to actually have a full strategy or vision on how they will adapt to the situation.” 

This flexibility will allow organizations to cover essential costs, such as staff salaries and rent, whilst planning how to engage with communities in the post-COVID-19 world. In addition to the support given to organizations, both Afac and Cultural Resource are operating region-wide funds to support individual artists. 

Cultural Resource aims to support 40 individual artists unable to earn a living at the moment through their Be With Art grant. In June, Afac launched its own regional scheme to sponsor up to 150 artists with $3,000 each. 

Hope remains for the art scene

Despite the struggles artists and cultural institutions are facing, Culture Resource Managing Director Helena Nassif remains hopeful for the future of the arts in Lebanon. She suggests the crisis in Lebanon has provided opportunity for reflection on “the value system we carry and the role of the arts in contributing to creating and imagining a better or different kind of society.”

Mismar seconds this, adding, “There are definitely challenges and negative impacts. At the same time, it does somehow open a moment to think of things differently. This is where aligning immediate needs with longer-term strategies needs to be balanced well.”

In spite of current difficulties, creative projects are continuing in Lebanon. Earlier this year, Beirut-based artist Abed Al-Kadiri launched “Cities Under Quarantine: The Mailbox Project.” The project saw 50 hand-stitched books sent to 50 Middle Eastern artists around the world, with participants asked to use the books to create art and document the crisis. 

Al-Kadiri hopes to publish a collection of the artists’ work in the future. 

Turkey’s Long Awaited Ataturk Cultural Center to Open in 2020

Turkey’s Minister for Culture and Tourism, Mehmet Nuri Ersoy, announced on Thursday that the long awaited Ataturk Cultural Center in Istanbul will open by the end of 2020. The center will include a theater with seating for up to 800 people, cinemas, exhibition spaces, and a world-class opera hall that will seat over 2,000. 

The center, which sits at the site of the previous Ataturk Cultural Center, closed since 2008, is considered an important step in advancing the art and culture scenes in Turkey. The project will also revitalize the streets around the center, which the government plans will be home to cafes, restaurants, and art galleries. 

Turkish President Recep Tayyip Erdogan first announced the venture in November 2017. 

A controversial project 

The new culture center is not without controversy, with Germany’s DW reporting in 2018 that the project exposed “deep political divides” in Turkey. 

Prior to the announcement of the new center in 2017, members of Erdogan’s Islamist Justice and Development Party (AKP) argued that the cultural center should be demolished and in 2013, during the Gezi Park protests, the abandoned center became a “symbol of resistance to AKP rule.” Protestors occupied the center’s roof and hung banners critical of the government from its facade.

The previous Ataturk Cultural Center opened in 1969 and was, at the time, the fourth largest cultural center in the world. Hosting musicians and theatre troupes from around the world, the center expressed “the lofty western cultural aspirations of the ‘Kemalist’ elites who forwarded the ideology of the secular founders of the Republic of Turkey.” 

Activists and opposition parties accuse President Erdogan and the AKP of undermining the secularism embedded in the Turkish constitution by the Republic of Turkey’s founder, Mustafa Kemal Ataturk. The recent announcement by Erdogan of plans to reconvert the Hagia Sophia into a mosque has furthered fears that secularism no longer has a place in modern Turkey. 

The Hagia Sophia was converted into a museum in 1935 by Ataturk and is a major tourist attraction in Istanbul, attracting approximately three million visitors per year. 

This suspicion of creeping Islamism, mixed with Erdogan’s nationalism and nostalgia for the Ottoman era, saw concerns raised over the design of the new center in 2017 which features a red-glass sphere over the entrance. Critics interpreted the sphere as being representative of the cupola of a mosque.  

A restrictive political and cultural context

The political and cultural landscape has changed considerably since the grand opening of the first Ataturk Cultural Center in 1969 with the AKP accused of restricting artistic freedom and freedom of expression since first coming to power in 2003. 

These restrictions are reported to have continued in recent months with the president using the coronavirus crisis to crack down on the few remaining opposition media outlets in the country. 

Within the context of suppressing independent voices, many remain skeptical of the center’s ability to support culture and art in the country. Earlier this month, a Turkish court sentenced Kurdish singer Azad Bedran to three years and nine months in prison. The court deemed the singer’s songs and concerts “propaganda for a terrorist organisation.” 

Bedran’s sentencing follows the arrest of fellow Kurdish singer and dual German citizen Hozan Cane last year for similar charges. Cane’s case is yet to be heard by a court and she remains remanded in custody. 

Europe to Reopen Borders to Algeria, Morocco, Tunisia

On Friday evening, officials met in Brussels to continue discussions on the list of approved countries the 27 member states of the European Union will reopen their borders to on July 1. 

Among the fourteen countries currently listed are Algeria, Morocco, and Tunisia. All three countries have large diaspora communities in Europe, members of which regularly travel back to the Maghreb during the summer period. With Eid al-Adha fast approaching, the possibility of passing the celebration with family will no doubt be a source of joy for many in both Europe and the Maghreb. 

The other countries on the list are Australia, Canada, Georgia, Japan, Montenegro, New Zealand, Rwanda, Serbia, South Korea, Thailand, and Uruguay. 

The EU deemed key European partners including the United States, Russia, and Turkey, not to have the virus sufficiently under control and excluded them from the list. Chinese visitors will be authorized to visit Europe on the condition that China opens its borders to European citizens.

European states will officially adopt this list, which remains subject to modification, on Monday. 

 Tourism in the Maghreb

Tourism is of vital importance to the economies of Morocco and Tunisia with the industry accounting for approximately 20% and 15% of GDP in 2018, respectively. In 2019, Morocco welcomed a record-breaking 13 million visitors.The vast majority of tourists who visit Morocco and Tunisia are European. 

By contrast, tourism remains relatively underdeveloped in Algeria. Last year 2.5 to 3.5 million people visited Algeria, but the majority, according to the tourism ministry, were Algerians living abroad. 

Prior to COVID-19, Algeria announced plans to increase tourism to the country. The country hopes to welcome five million tourists per year by 2025, focusing on wealthier visitors seeking out luxury experiences and adventure tourists. The country also plans to expand the port in Algiers to allow for cruise ships to dock and to develop at least one resort along the Mediterranean coast. 

Under the country’s plans to expand tourism, which will target both European travelers and those from further afield including the United States, China, and Canada, tourism’s share of GDP will triple to 4.5% by 2025. This remains considerably less than the contribution tourism makes to the GDP of Morocco and Tunisia. 

Uncertainty remains for Moroccans and Algerians

Whilst Tunisia reopened its borders earlier today, Morocco and Algeria are yet to confirm a reopening date. Like Tunisia, both countries closed their borders in mid-March in an attempt to stop the importation of the virus from abroad. The state of emergency declared in Morocco, as a result of coronavirus, is in place until at least July 10. 

While Morocco has yet to make an official announcement, Bladi reports that British Ambassador to Morocco Thomas Reilly tweeted earlier this week the borders would reopen on July 10. The tweet is no longer available. 

Moroccan sources have indicated that the borders are likely to reopen after the 10th, however no date has been set. 

There has been no indication from the Algerian government as to when its borders will reopen to tourists.

COVID-19 Causes Dramatic Change in MENA Consumer Habits

2020 was set to be a record year for retail in the Middle East. The six-month long Dubai Expo was supposed to attract shoppers from around the world and the region’s malls prepared for ever-increasing numbers of shoppers. The coronavirus has crushed all of this hopeful expectation, with lockdowns and curfews bringing sales through retail stores to a grinding halt.

Unforeseen changes

Throughout the Middle East and North Africa (MENA), Ramadan and Eid-al-Fitr equal the Christmas season in Europe and North America. Shoppers flock to retailers for new clothes, festive food, and gifts for friends or family. But the COVID-19 epidemic meant closed mosques and few retailers outside of grocery stores allowed to operate.

These trends have created a make-or-break moment for many retailers in the region. Those who were already providing online sales, or were ready to make the transition, have come out as winners, while those lagging behind have struggled to survive.

Now that online shopping is no longer a necessity, with shops and malls reopening, it appears that consumers in the MENA region have structurally changed their consumer behavior. A study done by Ernst & Young (EY) revealed that 92% of shoppers in the UAE and Saudi Arabia had changed their shopping habits, with half of those considering it a “significant” change.

Altered paradigm

The EY survey showed a dramatically altered retail paradigm. Forty-seven percent of those surveyed signaled that in the coming two years they expect to do their grocery shopping online and 50% of correspondents said they will consciously reduce their amount of physical shopping to less frequent visits for larger purchases.

The retail landscape in the region is changing rapidly. This follows years of construction on new retail malls that hoped to generate a “casual shopping” experience, where trips to retailers is seen as a form of entertainment in itself. For malls and shopping centers the trend will precipitate a renewed focus on generating “experiences” for shoppers that they cannot have at home, mixing shopping with visits to movie theaters or culinary experiences.

Global e-commerce was worth $25.6 trillion in 2018 and the trend towards online shopping has since accelerated. Whether brick-and-mortar stores can again attract customers by providing new experiences remains to be seen as convenient online shopping is now the safer choice amid persistent worries over the global pandemic.

Egypt Takes $5.2 Billion IMF Loan to Support Economy

The International Monetary Fund in Washington DC has approved Cairo’s request for a $5.2 billion one-year loan. The loan that will have to be repaid within a year adds to a separate $2.77 billion package of “emergency support” granted to Egypt on May 11, to assist the country in its struggle to stop its COVID-19 epidemic.

The IMF considers Egypt to be somewhat of a pre-coronavirus success story as it complied with IMF demands for increased privatization, cutting public spending, and deregulation of industry. In May, an IMF statement said, “as the crisis abates, measures to lower the debt level would need to resume along with continued implementation of structural reforms to increase the role of the private sector.”

Egypt-IMF relationship

But the COVID-19 pandemic’s impact on tourism, global trade and oil prices has significantly impacted Egypt’s economy. Egypt relies heavily on revenues from its hotels and resorts on the Red Sea as well as tourism to its historic landmarks. Reductions in global trade have meant Egyptian state coffers see shipping fees from its vital Suez Canal reduced significantly while oil and gas revenues from Egypt’s growing energy sector similarly fell dramatically.

The fact that Egypt had recently completed a three-year economic reform plan as part of a $12 billion IMF loan that concluded in 2019 appears to have done little for the country’s economic resilience, but further austerity and privatization would eventually produce better results, according to the Fund.

Foreign priorities

Egyptian President Abdel Fattah el-Sisi had received praise from his Western backers and international bankers for implementing unpopular austerity measures that caused a dramatic rise in prices for essential goods for poor and middle class Egyptians, including a large increase in the price of electricity and drinking water. But the moves have helped “attract foreign investment,” justifying praise from the Egyptian government’s financiers.

Egypt’s transition to the neoliberal economy that foreign powers mandate has done little to produce an effective COVID-19 response. Like other countries that follow this economic mantra, such as Brazil, the US, the UK and India, COVID-19 cases have exploded with little government assistance to the country’s poorest and most vulnerable communities.

Local suffering

Egypt’s government has distributed monthly assistance of $31 for informal workers, who make up a significant section of those working in its hospitality industry. The limited support for Egyptian citizens has seen 73% of Egyptian households report a decline in their incomes over the past months.

Like Brazil, the US, and the UK, Egypt is now rushing to reopen its economy, even though it recorded 1,625 new cases on June 26, with 62,755 total confirmed cases and 2,620 deaths. The necessity to bring in revenue appears to have outweighed any desire to control the local epidemic as hygiene standards and social distancing are seen as sufficient to again receive foreign tourists.

Egyptian citizens will have to again brace for austerity measures that cut government support for the poor and increase the cost of living, while the government hopes that this time, the IMF’s demands will produce the “resilient” economy that its financiers have repeatedly promised.

Female Arab Filmmakers Shine at Virtual Cannes Film Festival

Three women from Lebanon, Egypt, and Algeria have overcome cultural barriers and systemic gender inequalities in their countries of origin and in the film industry to feature at the 2020 Cannes Film Festival. 

Of the 56 films that made it through to this year’s final selection, Danielle Arbid, Ayten Amin, and Maiwen flew the flag for the Middle East and North Africa at this year’s “peculiar” edition of the iconic festival held online from June 22 to June 26. They were selected from an initial pool of 2067 films, 532 of which were made by women. 

Their achievement is all the more impressive given the level of gender inequality and cultural barriers the three women have had to overcome in their home countries to make films.  

Arab women’s stories on the Cannes Silver Screen 

Lebanese filmmaker Danielle Arbid has been based in Paris for the last 30 years. Her Cannes selection is “Passion Simple” (Simple Passion) based on the 1992 novel by Annie Ernaux. The film tells the story of a passionate romance between a housewife and her Russian diplomat lover, and unlike Arbid’s previous films, has no links to Lebanon.

Arbid says she was making films long before #MeToo does not believe there is a “feminine or masculine” cinema, but admits her gender certainly has not been a great help, particularly back in Lebanon. 

“No one helped me professionally because of my Lebanese origins or because I am a woman—certainly not in Lebanon, where most of my work is censored, or in the Arab world,” she told Arab News

“Being a woman hasn’t proved a hindrance in filmmaking. The female representation at Cannes is still not entirely satisfactory, but at last we’re moving in the right direction,” she said. 

For Egyptian director Ayten Amin, the gender gap in Egypt, both in terms of opportunity and remuneration, is clear: “Being a woman cinema is definitely a hindrance.” 

“I have to prove myself every time, as though every project is my first. I’ve had more successes than several of my male colleagues, but they’ve had more opportunities than me and — despite my track record — they’re much better paid.”

Amin says that making films in the increasingly conservative North African country is difficult for everyone and argues more local and European funding is needed to allow the Arab world to tell its stories on the silver screen. 

At the end of the day, she argues that she is “always on the side of a good film regardless of gender,” and says her Cannes selection “Souad” would not have been possible without the support of her enthusiastic friend-turned-producer Sameh Awad. 

“Souad,” directed by Amin and produced by the doyen of Tunisian cinema, Dora Bouchoucha, is an essentially feminine family drama that tells the story of 19-year-old Souad and her little sister, 12-year-old Rabab, who are from a conservative family. Souad’s suicide sets Rabab off on a quest to uncover her sister’s secret online life and find answers about her tragic death.

The third Arab voice represented in this year’s Cannes selection is herself no stranger to family drama. French-Algerian director Maiwenn says her mother, the renowned Algerian actress Catherine Belkhodja, “only loved me on the silver screen.”

Maiwenn was a prominent voice of the #MeToo movement. After winning the 2011 Prix de Jury for “Polisse,” she returned to Cannes in 2020 with her film “DNA.” Like “Polisse,” Maiwenn also plays the lead, Neige, in “DNA,” a film deeply rooted in her Algerian heritage. The death of Neige’s adored grandfather Emir triggers a dramatic family identity crisis that the bereft woman is forced to navigate.  

Digital Festival Fails to Hit Diversity Target

This week, Cannes Film Festival has been doing its best to “mirror” the normal festival experience through its inaugural online “Marché du Film” (Film Market), after the global COVID-19 pandemic put a stop to the physical festival going ahead.   

“No one knows what the second half of the year may bring and whether it will be possible to organize major film events again in 2020, including the Festival de Cannes,” said Cannes General Delegate Andre Fremaux on June 3, when he unveiled the festival’s official selection of films.

“Cannes has therefore decided to adapt its format for this peculiar year,” he said. 

When presenting the 2020 selection, Fremaux also pointed out that although the total number of films submitted by women directors was slightly down on 2019’s figures, (532 compared to 572), the ratio of female-made films in the selection was up. 

“The number of female directors included in the Selection shows a significant increase,” Fremaux said. 

“We will have 16 female directors in the selection. They were 14 in 2019, 11 in 2018, 12 in 2017, 9 in 2016, and 6 in 2015. In percentage, this number is 28.5% of the selection, higher than last year (23.7%) and, above all, higher than the percentage of female directors submitting movies to the selection.”

Since 2018, spurred on by the #MeToo movement, feminists have been calling for greater equality in the film industry through initiatives like Collectif 50/50 for Cannes 2020.

The year is now 2020 and while the Cannes panel selected a record number of female-directed films it is still eons away from the parity the Collectif is fighting for.  

While the Collectif’s target fell short this year, Arbid, Amin, and Maiwen are nevertheless a bright spot in a year that has been difficult for the film industry in general and a painful reminder that it is still shatteringly un-diverse.

Read also: COVID-19 Prompts Iran to Re-open Drive-in Cinema

Emboldened by Impunity, Russia Abandons Protections for Syrian Hospitals

Throughout the course of the Syrian civil war, Vladimir Putin and the Russian government have avoided the Hague, despite evidence of Moscow’s culpability in the deaths of medical workers and destruction of hospitals.

As a permanent member of the UN Security Council, Russia has been able to shield itself from accusations and act with a de facto impunity. Despite overwhelming evidence of Moscow’s involvement in a systematic bombing campaign against hospitals, Russia has thus far largely avoided the scrutiny of the international community.

Moscow’s ability to shield itself from criticism became most evident in April. That month, the UN launched an internal inquiry into a series of attacks in 2019 targeting healthcare facilities, a school, and a refuge for children in northwest Syria. Although the inquiry concluded that it was “highly probable” that the Assad regime and its allies were responsible, it fell short of actually condemning Damascus or Moscow for the attacks.

Transparent targeting

Emboldened by the consistent exoneration it has received from the international community, Russia has now pulled out of an international agreement designed to prevent hospitals and medical workers from being caught in the crossfire between the Syrian government and its opposition.

Under the deconfliction agreement, the UN shared the coordinates and locations of hospitals, medical facilities, and other humanitarian sites in Syria with other actors in the conflict in order to prevent the sites from sustaining damage in the crossfire between parties.

However, Syrian health care workers have criticized the agreement in the past, arguing that Russia had appropriated the list of sites as a list of targets. Meanwhile, Moscow has denied any responsibility for deliberately destroying hospitals, redirecting blame towards the opposition for harbouring terrorists.

For its part, the UN has emphasized that regardless as to whether Russia participates in the agreement or not, international laws against targeting civilians and medical facilities are still binding.

“If Russia thinks this will help them escape accountability for war crimes, they’re dead wrong,” said Louis Charbonneau, UN director for Human Rights Watch.

“We and other groups will continue to investigate and document the deliberate bombings of hospitals and other grave crimes in Syria.”

The Kremlin’s impunity

The targeting of hospitals, either deliberately or recklessly, is a war crime. However, since the outbreak of the Syrian Civil War, the country has seen more than 580 attacks on medical workers, more than 260 of which occurred after the Kremlin began to intervene. These attacks resulted in the death of more than 916 doctors, nurses, and medical personnel.

Russia’s intervention into the war in Syria in 2015 signaled the start of a drastic change to the conflict. With the backing of Russian fighter jets and armored vehicles, the Assad regime was put on the path to victory.

However, as Assad and his Russian allies began to grow bolder and advance on opposition forces, attacks on hospitals began to increase. In northern Syria, hospitals and other civilian infrastructure continue to be targets as the Syrian government struggles to capture remaining rebel-held pockets.

Hospital Bombing
Nabad al Hayat Surgical Hospital in Idlib was one of many hospitals destroyed in 2019 as part of the Russian bombing campaign in Syria.

Moscow has vehemently denied any responsibility for the destruction of hospitals across Syria, arguing that any hospitals destroyed were occupied by “terrorists.” Healthcare workers in the country have disputed the claim that hospitals are harbouring terrorists, instead arguing that the destruction of medical facilities is a systematic campaign against civilians.

“The argument by the Russians or the regime is always that hospitals are run by terrorists,” said a head nurse at a destroyed Syrian hospital, who asked to remain anonymous because he feared being targeted. “Is it really possible that all the people are terrorists?”

Meanwhile, attempts to bring allegations of Moscow’s involvement with the widespread destruction of medical infrastructure has routinely failed. Russia, and its close ally China, have both actively impeded the UN’s ability to investigate the war crimes of the Assad regime and of Russia’s troops in Syria. In particular, the two countries vetoed previous attempts to bring allegations of Russia’s destruction of hospitals to the International Criminal Court.

In the wake of the UN’s failure to provide justice for the victims of the widespread devastation, Syrian activists have been outspoken in their desire for a formal investigation by the international community.

“The attacks on health in Syria, as well as the indiscriminate bombing of civilian facilities, are definitely war crimes, and they should be prosecuted at the level of the International Criminal Court in The Hague,” said Susannah Sirkin, director of policy at Physicians for Human Rights, an advocacy group.

An emboldened Russia

Over the past two decades, the Kremlin has struggled to reclaim the mantle of “superpower,” expanding its influence to Syria, Libya, Ukraine, and others. Unfazed by international sanctions and condemnation, Moscow has become more ambitious in its desires for global influence.

The Kremlin’s decision to leave the agreement in Syria has now given Moscow plausible deniability for any further devastation they cause to the country’s medical infrastructure, as they will no longer have overt access to the UN’s list of hospitals and humanitarian sites.

Prior to leaving the agreement, the Kremlin could not deny knowing that their targets were hospitals. However, henceforth, Moscow will be able to dispute allegations that they were aware that a strike target was civilian in nature.

In its unilateral decision to abandon protections for medical infrastructure, Russia has signaled to the world that civilian casualties are less important than winning the war. Moreover, Moscow has now made it clear that it knows it can get away with potential war crimes so long as they maintain their influence in the UN.

Fakhfakh Gate Rocks Tunisia

It was a tough night for Tunisian Prime Minister Elyes Fakhfakh as he faced intense questioning from parliamentarians over what the Tunisian media has dubbed “Fakhfakh Gate.” A plenary session on Thursday night lasted until 4 a.m. as lawmakers grilled the prime minister in what Le Courrier de l’Atlas described as “a night of the long knives.”

Fakhfakh had faced accusations of a conflict of interest over his role as a shareholder of a company that has allegedly benefited from the prime minister’s governing policies. The prime minister attempted to address the issue by giving a long speech at the start of Parliament’s June 25 plenary session in which he appeared combative against his accusers from opposition parties.

Seventy-three Tunisian lawmakers have now called for a motion of no confidence in their national leader, according to reporting by the North Africa Post on Friday.

Fakhfakh Gate

Fakhfakh’s impassioned and belligerent speech did little to assuage concerns as lawmakers mocked him. The prime minister is accused of being part of a “revolving door” between business and government, a global phenomenon that has become uniquely local because of the scandal.

Leaked documents revealed that Fakhfakh had granted a public waste recycling contract worth $15.4 million to one of his own companies. He did this in the first few months of his premiership, which he says is the reason why he had not yet divested from the company. But many Tunisian politicians have latched onto the scandal as an example of a prevalent and perverse intertwining of business and politics.

Tunisian politicians now aim to address a “scourge” of insider trading and business-to-government collusion, raising the case of former Justice Minister Ghazi Jeribi. Ghazi Jeribi was replaced by his brother Thouraya Jeribi and now is forced to defend problematic ties with Tunisian business interests only months after his departure.

The PM’s response

Fakhfakh has responded to the public scandal by selling his shares in the company that received the $15.4 million tender in question. He has divested himself from all companies that deal directly with the government, but the damage appears to have been done. Independent Parliamentarian Yassine al-Ayari has published new documents that he says reveal further corrupt practices by revealing another granted tender to one of the PM’s companies.

A significant section of the Tunisian Parliament is now calling for investigations over Fakfakh’s accountability as well as how the prime minister profited from his divestment following the scandal. Any evidence of illegal misdealing should provide sufficient ammunition to demand Fakhfakh’s resignation, according to Nabil Hajji of the Congres pour la Republique party.

MP Ayari has asked the Tunisian Counter-Corruption Minister, Mohammed Abbou, to further investigate the prime minister’s conflicts of interests and the accusations that he personally enriched himself through the provision of government tenders.

Consequences

Abbou has called for a “competent” supervisory body to investigate the accusations revealed in “Fakhfakh Gate.” Abbou has also requested copies of all contracts signed with companies where Fakhfakh held a stake and called upon the supervisory body to produce a report to Parliament as soon as possible.

MP Ayari has stressed the importance of the timing of the events. Tunisian law specifies that the country’s prime minister must within 60 days shed himself of possible conflicts of interest, such as shares owned or positions in the private sector.

With Fakhfakh’s belligerent attitude towards his accusers and 72 parliamentarians calling for his resignation, Fakhfakh Gate has truly shaken Tunisian politics as an example of the often incestuous relationship between the country’s private and public sector.

South Sudan Faces Preventable COVID-19 Tragedy

South Sudan’s public health crisis is spiraling out of control as the impact of COVID-19 is threatening the health of citizens and could derail the peace process according to the UN.

“South Sudan is facing the twin threat of COVID-19 and an uptick in violence that risks unraveling a fragile ceasefire and derailing the peace process,” David Shearer of the local UN mission told the UN Security Council on June 23.

South Sudan currently has 1,942 cases and 36 deaths related to the virus, according to WHO data. But “ limited testing and social stigma obscure the true magnitude of the pandemic,” Shearer told the members of the Security Council.

The UN mission in South Sudan fears that the emergence of COVID-19 in the country could see the country’s already fragile healthcare system disrupted to the extent where it can no longer provide vital services such as vaccinations, maternal health services, and treatment of preventable diseases.

Side effects

The impact on South Sudan’s healthcare system’s ability to perform these routine but important tasks could result in more deaths than the local COVID-19 outbreak. “Yes, people will die from the virus, like everywhere else in the world. But the real threat to the people of South Sudan lies in the collapse of the already fragile health system,” Shearer stated.

Because local UN experts foreshadow deaths for treatable conditions, the coming tragedy is very much a preventable one. The UN Mission in South Sudan is calling on increased support for protective equipment for health workers, as 86 health workers have already been infected while many others do not receive their salary amid their valiant efforts to combat the coronavirus.

Many people in South Sudan’s urban centers have been unable to isolate themselves sufficiently to stop COVID-19 transmission. “Few will submit to isolation at home,” Shearer explained. “The need to earn a living means that people’s behavior remains unchanged, as not working today means not eating tomorrow.”

Threat to peace

Amid South Sudan’s public health crisis, its peace process is “faltering,” according to Shearer. Power-sharing agreements between the president and vice-president’s competing political factions remain fraught. The absence of an agreed-upon unity government has led the local UN mission to recommend state governors be appointed to fill the power vacuum.

Violence in the country is increasing and becoming more organized. Shearer told the Security Council that violence in Jonglei, Unity, Lakes, Warrap, and the Western Equatoria states can no longer be “pigeonholed as inter-communal,” according to the UN’s statement. Some 60,000 people have already been displaced in these states, with hundreds of civilians killed and women and children regularly being abducted.

“Fighters in uniform have been spotted … suggesting that organized forces may be joining the conflict, which risks unraveling the ceasefire,” Shearer told the Security Council as it sees actors use the absence of a unified national government as a license to use violence instead.

Sherer told the Security Council that “this cycle of impunity fuels serious human rights violations where civilians once again bear the brunt of violence” as he predicted that 7.4 million South Sudanese people, including many in large cities, will soon require humanitarian assistance.