She enters a room with a presence that commands attention—not merely because of her elegance but because of an energy that is both assured and magnetic. With the composure of a luxury brand CEO and a sharp eye for detail, she carries an effortless precision in all she does. There is a touch of Miranda Priestly’s no-nonsense approach from The Devil Wears Prada, yet softened by an unmistakable Middle Eastern warmth. Shahinaz El Akkad, CEO of Lagoonie Film Production & Distribution, is anything but predictable. She has carved out a formidable space in Arab cinema, crafting narratives that resonate long after the credits roll. In an exclusive conversation with Enigma’s Moustafa Elhalfwy, El Akkad shares her journey, inspirations, and what’s next for her in the ever-evolving film world.
“I never, in my wildest dreams, thought I’d be working in cinema,” El Akkad begins with a laugh, shaking her head in disbelief. “I loved watching films, like everyone else, but producing them? That was never part of the plan.”
Her foray into film was serendipitous. At the time, she was immersed in the tourism industry, running a restaurant in El Gouna. Every night, filmmakers and actors would gather there after their screenings. One evening, a friend offhandedly suggested she try producing a film. “I laughed it off, but that conversation planted a seed,” she recalls. It wasn’t long before she discovered her true passion—reading scripts. “I’ve always loved books more than films. I realised I had a knack for dissecting stories, reading between the lines, and understanding what makes a narrative powerful. That was my affirmation—I have an eye for stories that resonate.”
Her first full production experience was Ras El Sana (New Year), in collaboration with Mohamed Hefzy. “That was the film where I truly began to understand the intricacies of production. At the same time, I was reading the script for Banat Abdelrahman, which later became a pivotal project for me—a revival of a certain kind of storytelling in Arab cinema.”
When asked to categorise Banat Abdelrahman (Abdelrahman’s Daughters), she pauses. “It’s like a heavy yet delicious meal. You know that feeling when you’ve just had an incredible dish? You’re satisfied, maybe even overwhelmed, but ultimately happy. That’s what the film feels like.”
El Akkad’s transition from tourism and hospitality to film was not just a career shift—it was a shift in mindset. “Looking back, I think I gravitate towards high-risk industries. Tourism and cinema are both unpredictable, demanding resilience, and capable of turning everything upside down overnight. Maybe I like the adventure. Maybe I don’t want things handed to me. I like the chase.”
She smirks, adding, “It’s like working in a circus—constantly balancing, adapting, and putting on a show. But challenges are inevitable, so you might as well choose the ones you love.”
When asked about the biggest struggles she faced starting out, she responded with an unexpected answer. “My hardships are bigger now than when I started,” she says candidly. “In the beginning, I had less knowledge, but I also had less to lose. As you grow, so do your problems. The risks get higher, the challenges tougher, and the expectations greater.”
She laughs before adding, “But one thing I know—I never want to create something I’d be ashamed of. Or that my kids would be ashamed of, God willing.”
El Akkad is known for working with fresh talent, a deliberate choice in an industry that often relies on established names for guaranteed returns. “We are an industry at the end of the day. To grow, we need to develop talent—actors, writers, and directors alike.”
She sees production as haute couture, not fast fashion. “Some filmmakers mass-produce content like fast fashion—I prefer to craft each project meticulously. Every detail matters. Every story deserves care.”
El Akkad’s projects often feature powerful female leads, but she rejects the notion of doing so simply for representation. “I don’t produce ‘strong female stories’ to tick a box. I produce stories about humans—women and men who fight, who choose, who survive.”
She challenges conventional narratives about strength. “A woman who leaves a bad marriage isn’t necessarily stronger than the one who stays. Staying, sacrificing for your children, putting your own needs aside for something greater—that takes a kind of strength we don’t talk about enough. Our Arab women are fighters in their own right.”
With Flight 404 and Inshallah Walad (Inshallah a Boy) selected for Oscar consideration, El Akkad describes the moment as surreal. “It felt like getting a perfect test score as a kid—exciting but unreal. I work hard for the ‘maybe.’ That moment when you think, could this happen? That’s what I live for.”
While awards are gratifying, she insists they aren’t everything. Then, catching herself, she laughs, “That being said, I’d like to win an Oscar.”
El Akkad envisions a more structured Egyptian media landscape. “Our industry lacks a unified representation, even though when people refer to ‘Arab cinema,’ they often mean Egyptian productions. Our content dominates the region, yet we don’t have a central entity to preserve, promote, and position our industry globally.”
Her solution? The Egyptian Media Hub. “Imagine a space where if you need a director, producer, or distributor, you won’t struggle. The Hub will provide not just one option but a dozen. It’s about facilitating projects and ensuring Egyptian cinema thrives on an international scale.”
If she could go back in time, would she have started in film earlier? “I don’t know. The person I was back then had different dreams. Every stage of life has its ambitions. I don’t regret mine.”
Then, with a knowing smile, she quotes, “Wa yafeed be eh ya nadam?” (What’s the benefit of regret?)
When asked what she wants to be remembered for, El Akkad’s response is immediate. “Honestly? Nothing. If I’m gone, I’m gone. I don’t care about a legacy. That’s ego. I just want my work to have a ripple effect, to help people move forward. I don’t need my name on it. Just let it grow.”
As our conversation winds down, one thing is clear—Shahinaz El Akkad is a force, not just in cinema but in life. She dreams without limits, builds without hesitation, and speaks with conviction. Beyond her undeniable talent and sharp business acumen, she is, quite simply, a joy to talk to. Her phrases are unforgettable—effortlessly witty, deeply insightful, and always delivered with her signature charm.