For Namir, the realisation that his beloved mother is not immortal is painful. He had actually intended to make a film with Siham. Now he is mourning in the church with his father Waguih and his children, who seem too young to understand death – and allowing himself to be filmed. “As always, I’m counting on cinema to help me.” He is convinced that cinema can turn tragedy into comedy – and preserve memories that would otherwise fade away.
Namir Abdel Messeeh has already worked through his family’s biography between Egypt and France, their Christian faith and love of cinema in “The Virgin, the Copts and Me” (2011). But it was Siham’s wish that her son finally realise a film with acting stars rather than his own relatives. Instead, Namir Abdel Messeeh recounts his mother’s love, her longing, and her mysteries using the power of cinema. A montage of home videos, family memories and Egyptian film classics by Youssef Chahine makes Siham appear almost “larger than life”.