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World War III

Name: World War III
Director: Ahmed El Gendy
Released: 2014
Duration: 105 min

Representation Score

4.7/10

Fair

2014

Director

Ahmed El Gendy

Runtime

105 minutes

Average Rating

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New Showbiz Analysis

World War III offers a moderate level of representation by positioning itself within an Egyptian cultural context. By using a local setting and a non-Western framework, the film avoids the dominance of Anglo-centric narratives. However, the film remains limited by a male-centric focus. The primary plot revolves around a male protagonist and his social activities, leaving little room for diverse gendered ability to act or queer visibility. While the fantasy premise involving historical statues suggests a unique cultural perspective, the lack of character arcs that reflect multiple aspects of identity prevents a higher diversity score.

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Category Breakdown

Does World War III have LGBTQ+ representation?

Fair

The film does not include any explicit references to LGBTQ+ characters or critiques of the assumption that everyone is straight or cisgender. It focuses on Khamis and the supernatural events in the museum without addressing queer identities.

How does World War III portray gender?

Fair

The story centers around a male protagonist and his male friends. Female characters do not play a significant role, and there is no subversion of traditional masculine archetypes.

How racially and ethnically diverse is World War III?

Fair

As an Egyptian production, the film operates within a non-Western cultural framework. This naturally disrupts Anglo-centric storytelling, although specific details about the ethnic makeup of the cast are not provided.

How does World War III represent religion and culture?

Good

The film sets its fantasy elements within a local, non-Western context. This departure from Western-centric morality allows for a potential deconstruction of historical permanence through its museum setting.

Does World War III include disability representation?

Minimal

There is no information about characters with physical, sensory, or neurodivergent disabilities. Therefore, no assessment can be made regarding their representation or the avoidance of stereotypes.

Present on Screen

The Egyptian production context provides a non-Western cultural framework that disrupts Anglo-centric storytelling norms.
The use of a local setting and historical museum elements offers a departure from Western-centric morality.

Limited or Absent

The narrative lacks visible LGBTQ+ representation or engagement with queer identities.
The focus on male-centric social activities limits the ability to act and presence of female characters.
There is no evidence of representation for characters with physical or neurodivergent disabilities.

Official Synopsis

Khamis is a terrible football player, while playing football with his friends he shoots the ball away and broke an abandoned museum's window. After entering the museum he finds that statues become alive at 17:00.

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