Six years ago, we called it. The last time Esquire Middle East ran a major profile on Amr Youssef, we set the table for a man on the cusp of becoming Egyptian cinema’s next big leading man. In hindsight, that 2019 proclamation reads less like a prediction, and more like a spoiler. Youssef isn’t just a rising star anymore, he’s the centre of a solar system—becoming that rarest of things: a bankable lead actor who is a magnet for record-breaking numbers in both action and romantic films. In short, Amr Youssef is box office.
Blockbusters belong to Youssef. In 2024 alone, he kicked things off with the action-romp, Shekko, which brought in EGP11.5 million (US$231,000) on its opening day. Then came the highly-anticipated Sons of Rizk 3, which didn’t just break records, it wrapped the records up in C4 and kicked them out of the penthouse window as they exploded on the way down—becoming the highest-grossing film in Egypt’s long cinematic history, making a staggering EGP265 million (US$5.3 million). His rising tide of success didn’t stop on the banks of the Nile either; audiences throughout the Gulf followed, and so did critical acclaim. Youssef also took home Best Actor at the prestigious BEST Awards in Egypt.
And now, Youssef is placing his biggest bet yet: Darwish. As this summer’s major blockbuster, it comes with plenty of thrills and the occasional comedic twist, but also with subtle character traits that will challenge the bedrock of Egyptian cinema-goers to, arguably, make this the most ambitious film of his career.
In Darwish, Youssef plays, well, Darwish—a charismatic con artist whose life of deception, danger, and unexpected romance forces him to confront his past, and consider his redemption.
As the role of the anti-hero is not often found in mainstream Egyptian cinema, the film’s success is heavily reliant on Youssef’s ability to bring the audience around to a character who blurs the line between heroism and deception. It’s a risk, but the casting couldn’t be better.
“In life, no one is entirely good or evil,” says Amr Youssef, “even a gang leader might believe that his intentions are the right ones, once you understand his motivations.” It is this grey area that first drew Youssef to the role—a role that tends to go deeper than the majoirty of Egyptian cinema’s mainstream productions. “I believe that nothing is black or white. Darwish isn’t a villain, but he’s far from a clean-cut hero,” he says. “This dynamic allows for me to create a very multi-layered character, one who is contradictory in nature, but is deeply human.”
Asking for the audience to root for a protagonist who is a con man, makes comparisons to darker anti-heroes inevitable, but Youssef draws a firm line. “Darwish isn’t the Joker,” he says. “He’s not a psychopath. He’s a con artist—but there’s a heart behind the schemes.”
The initial proposal for darwish first came to Youssef four years ago, pitched under the working title ‘Jawharet al Mahraja’ (Clown’s Jewel) by writer Wissam Sabri—the same mind behind Shekko. At the time, Youssef didn’t feel he was ready. “I just felt that I needed to do something else first,” he recalls. So, the script was shelved, almost reserved, until now. Since its original script, Darwish has evolved into a full-blown cinematic experience, thanks to the labours of creative triple threat Sabri, Youssef and director Waleed El Halfawy.
Notably, with some scenes taking place in early 1900s Downtown Cairo, the set design was meticulous—requiring detailed 3D recreations alongside filming in real historical locations.
For the film’s costume designer, Dina Nadim, every outfit was created with the precise purpose of helping put the characters in the time period, from shoes to suits—right down to the smallest detail.
Known for his immersive approach to acting, Youssef doesn’t just play his roles—he embodies them. During production he insists on deep table reads with directors and writers, finding the soul of a character from the ground up. “You start with the character
on the page, but you build him layer by layer—until he walks, talks, and breathes on set,” he says.
While Darwish isn’t action-heavy, Youssef still performed his own stunts and promises some scenes that he claims will “take the audience’s breath away.” Still, when the cameras stop rolling, he has the ability to let the character go. “Sometimes the body language, the way he talks—it sticks,” he admits. “But I make an active choice to disconnect. That’s important.” Does he relates to Darwish at all? “He’s a con artist!” he laughs, “If I say that I relate, the police might come knocking.”
While Youssef’s name sits atop the bill, the film is immeasurably enhanced with the addition of a powerhouse supporting case, not only reuniting with Shekko co-star Dina El Sherbini, but also the captivating Tara Emad.
“Dina brings something new every time,” he says of his co-star, shaking off any concern about the pairing feeling repetitive. “She’s such a multi-faceted actress —so versatile and dynamic, and we have a beautiful chemistry together. So, what we’re bringing this time feels completely new.” He’s equally excited about Emad’s performance. “It’s a challenging role, and she delivered something powerful. She was a true highlight —I believe it’ll mark a turning point in her career.”
Despite his intense on-screen personas, in real life Youssef is charming and quick to joke. Within the heat of a Cairo afternoon in mid-May, on set he is relaxed, enthusiastic and fully cooperative with the Esquire crew. Mid-shot a small ginger cat strides its way into shot, Youssef reaches down to scratch it behind the ear, creating the opportunity for the photographer to snap some candid shots of him. The cat plops down, making itself comfortable, with no intention of moving. Youssef suggests whether he should go and leave the cat to be the star of the show. The crew laugh, nervously hoping that he is joking, before he reassures them with a smile—that big-screen, leading man smile— the crew eating out the palm of his hand.
In conversation he is affable, revealing a deep fondness for cinema and a penchant for classic attire. His voice is relaxed, endearing even, and although he is busy with both family and work, he is amiable and open.
“Cinema has always been my passion. I always wanted to be a part of it. But you know, when you talk about stuff like that when you’re young, people always tell you ‘ah, no way. There’s no way you’ll be able to do that’,”he says. “It’s funny, how people try to pull you back from something you dream about, especially when it concerns acting or music. Any kind of art, really.”
Today Egyptian cinema remains a curiosity. Still the centre of film production in the Arab world, the Egyptian movie industry has captivated audiences for nearly a century. Its Golden Age, which lasted throughout much of the mid-20th century, made household names of stars such as Faten Hamama, Nadia Lutfi, Rushdy Abaza and Omar Sharif, and yet there was a noticeable decline in the quality of films produced in the country since the turn of the millennium. Yet the industry bounced back from the post-revolutionary and post-coup d’état doldrums, with Egyptian box office revenues on the rise. Youssef has been a part of that resurgence. The romantic comedy Hepta (2016), in which he played a leading role, broke box office records for the genre, accumulating takings in excess of EGP150 million (US$3 million). The financial success of the Sons of Rizk trilogy has proved there is big money to be made.
That said, it has been an industry dominated by comedies and action thrillers, with blockbusters peddling violence and laughs at an increasingly frenetic rate. This is what makes Darwish such an interesting gamble. If it delivers, then it could very well help shift the decisionmaker keen to fill cinemas into a more creatively adventurous direction—especially when it comes to budget sizes.
It’s something that makes Youssef optimistic about the future of Egyptian cinema. Despite the industry leaning increasingly toward streaming site and series, Youssef remains a fierce advocate for the cinematic experience. “It’s not just watching a movie. It’s an outing—the theatre, the sound, the magic. That can’t be replaced.” He remembers the lean years when annual productions dropped from eighty films to just seven. But now, the comeback is real—cinemas are full, budgets are growing, and Saudi Arabia (a big market for Egyptian movies) alone has added more than 500 new screens, transforming scale and potentially of the regional landscape. But he still sees one big gap: stories. “We have great actors and directors. But we need more writers. More stories. That’s where the longevity come from,” he says.
For Youssef, good and original storytelling is essential. “I like variety,” he says. “I don’t want to do the same thing twice.” He points to 2023’s Wesh Wesh (‘Face to Face’), directed by Darwish’s El Halfawy, and shot in a single location, it still made a strong impact because of its honest writing and heartfelt execution. As for genre, he says anything can work in Egypt—comedy, drama, action—as long as the story is strong and the work is honest. He still considers his character in Hepta as one of his most layered performances—but believes Darwish might soon take the crown.
Off screen, Amr Youssef is a family man, married to Syrian actress Kinda Alloush. When the topic of fatherhood comes up, his tone softens. When offered the statement ‘when you have kids, you stop being the main character in your own life’ he nods in agreement. “It’s true,” he offers, “your plans, your money, how you travel—it all changes. They become a priority and the main heroes of your story.” This softening of Youssef has also led him to become actively more involved in philanthropic causes, recently advocating for support to triple the capacity of the Magdi Yacoub Global Heart Centre in Cairo, which treats both children and adults with congenital heart defects.
At the stage he is in now, fame doesn’t really interest Amr Youssef any more. “These days, anyone can be famous. With social media trends—it’s easy to go viral,” he says. What will ensure that you’ll get his attention is if someone stops him to say they remember a role he played, or that they wanted to talk about his body of work. “That’s the kind of respect that I value more—that’s what I work for. My job is not about pleasing one boss, it’s about trying to please millions of people. And that’s a huge responsibility.”
Now in the final stages of production, Darwish is set to premiere across the Arab world this summer. And while Youssef understands the pressure, he remains grounded. “It’s a big gamble,” he admits, “but everyone gave it their heart. I hope it becomes a classic —something people want to watch again and again.”
If we were to make another prediction, we’d back ourselves to expect that the reception of Darwish will be equally emphatic—and when it comes to making predictions, like Amr Youssef, we are on a roll.
In cinemas Summer 2025, Darwish is a joint production between One 2 One, Film Clinic, VOX Studios and Film Square.
LOUBOUTIN; Watch, HIS OWN
This article was originally published in the June 2025 issue of Esquire Middle East.
Photography by Amina Zaher / Styling by Laura Jane Brown / Hair Styling by Ahmed Abood / Make-Up by Mohamed Mahmoud / Production: Digitent World / On Ground; Producer: BassemEldabour / Senior Producer: Steff Hawker / Producer: Fatima Mourad / Styling Assistant: Lojain Elgawish / Lighting Assistant: Ahmed Gomaa
