A Marxist Analysis Of The Egyptian Film Night/exterior

A Marxist Analysis of the Egyptian Film Night/Exterior “The Mister is from Maadi, and I’m from Hadayek, and you’re from Dar el Salam, so the difference between each of us is one metro station,” said Mustafa, the lower-class, middle-aged taxi driver in the Independent Egyptian Film Night/Exterior or ‘Leil Khargy’. As Mustafa drives upper-middle class film director Moe and sex worker Toutou around Cairo for one day, the movie basically lends itself to a Marxist analysis of the class conflict between the three characters. Night/Exterior is an intimate portrayal of Cairo, from the sound of music on the Corniche to the class, gender, and political conflict we witness every day. This essay conducts a Marxist analysis of the power relations between Moe, Mustafa, and Toto, and how they are shaped by class.Night/Exterior depicts the socioeconomic conditions of contemporary Egypt, revealing the different classes in society and the conflict between them. It is important to note that in Egypt there are no clear-cut upper, middle, and lower classes. Similar to the United States, it can be argued that there are five classes: the upper class, upper-middle class, middle class, lower-middle class, and lower class. In the movie, Mo represents the upper-middle