A trained nurse, she gruffly lends her expertise to bandaging wounds later on. Sympathy for the reporter soon wears thin as his arrogance comes out, along with his dangerous insistence on using a spyware-style camera in his watch.Ī standout is Nelly Karim (who played the rich woman in Cairo 678) as a Mother Courage figure who leaps on the van when her husband and teenage son are arrested. The first to be loaded by angry, black-uniformed police are an Egyptian-American journalist for the AP and the freelance photographer working with him. Once it becomes apparent that there will be no getting out of the van, the viewer is forced to get acquainted with some 20-odd characters who are not all readily distinguishable, especially the young men. Such is not the case, but effort is required.

Like Diab’s first feature, Cairo 678, which follows three women who exact revenge on their sexual harassers, this is a concept movie, one it would have been easy to make drab and theatrical. The audience has the sensation of being a prisoner, too, caught unawares in a deadly squabble that grows in volume and intensity as the film goes on. Outside, through the barred windows, they helplessly observe the full-blown civil war taking place on the streets around them. From beginning to end, all the action takes place within the claustrophobic confines of the van, where warring protestors of all factions are thrown together and at each others’ throats. Running the gamut from social comedy to actioner to war movie, Clash is an original, often quite disturbing experience to watch. Berlin: Director Robert Schwentke on John Malkovich and the Hypocrisy of the Elites in 'Seneca - On the Creation of Earthquakes'

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