Summit meeting at the French Hotel: Amr Youssef and Gamal Soliman together for the first time

The production company announced that the renowned Syrian actor Jamal Suleiman on to star in the series "Al-Faransawi" (The Frenchman) , alongside Egyptian star Amr Youssef . This project marks the first artistic collaboration between these two prominent figures, generating considerable excitement among both audiences and critics. The series is scheduled to air during the off-season after Ramadan 2026, giving it a greater chance of being watched outside the competitive Ramadan season.

Artistic and historical background of the stars

This collaboration brings together two distinct schools of acting. Amr Youssef is one of the most prominent stars of his generation in Egypt, having built a wide fan base through his diverse roles in action and social dramas, achieving great success in both film and television. On the other hand, Gamal Soliman is considered a pillar of Syrian and Arab drama, boasting a rich artistic history of complex roles and iconic characters that have left a lasting impression on Arab audiences. He has also achieved widespread stardom in Egypt over the past two decades. This combination of Soliman's extensive experience and Youssef's captivating presence is expected to produce a unique on-screen chemistry.

Story details and exciting events

The 10-episode series unfolds as a thriller, a crime drama interwoven with human conflict. Amr Youssef portrays Khaled Moshir, a corrupt lawyer known as "The Frenchman." His life is turned upside down after the murder of his beloved, prompting him to abandon his corrupt ways and pursue justice in his own way, driven by a powerful desire for revenge. Jamal Soliman is expected to deliver a pivotal and entirely different performance, adding depth to the dramatic conflict. Written and directed by Adam Abdel Nasser, the series boasts a stellar cast including Ahmed Fouad Selim, Sami El Sheikh, Jana El Ashkar, Ahmed Bahaa, and Ingy Kiwan, along with several guest stars.

Amr Youssef's return to drama and the importance of the work

The series "El Faransi" marks the return of star Amr Youssef to television drama after a period focused on cinema, where he achieved notable success, most prominently in the "Welad Rizk" film series and the film "Shaqo." Despite his participation in the series "El Katiba 101" in 2023, "El Faransi" represents his strong comeback in a standalone series. The work gains its significance from belonging to the category of short series, which has become increasingly popular due to its compelling storylines and fast-paced rhythm that attract viewers, especially on digital platforms.

Amidst the rapid transformations sweeping the Saudi cultural landscape, the name of thinker and researcher Tariq bin Saad Al-Qarni stands out as an intellectual voice striving to deconstruct concepts and offer profound insights that blend tradition and modernity. His journey was not a matter of chance, but rather the product of a long immersion in reading and writing, and a persistent engagement with issues of language, thought, and humanity. In this interview, we delve into Al-Qarni's intellectual experience, explore his vision of the evolving cultural scene, and his engagement with its fundamental questions.

General context: Saudi culture with a new vision

This dialogue comes at an exceptional time for the Kingdom of Saudi Arabia, where culture forms a cornerstone of Vision 2030. Recent years have witnessed an unprecedented surge in support for the cultural sector, through the establishment of the Ministry of Culture and its specialized bodies, and the launch of international initiatives and festivals. This has opened the door wide to intellectual dialogues and public discussions that were previously limited. This new climate has provided voices like Tariq Al-Qarni with a greater opportunity to present their ideas and influence a new generation of intellectuals and those interested in culture, thus lending his views particular importance in understanding the dynamics of this transformation.

From existential reading to the worlds of language

• How did your first relationship with reading and writing take shape?

My relationship with reading and writing began in my childhood, but it wasn't disciplined. After entering university, I suffered a health and psychological setback that drove me to read in order to understand myself and my feelings. At that point, reading transformed into an existential experience, not merely a functional tool; I began reading to discover myself, not to obtain a degree. I specialized in linguistics and then critical methodologies, and from there I ventured into the humanities to broaden my horizons. I see language, as Heidegger described it, as "the house of Being," and from it our understanding of the self, society, politics, and history is formed. Thus, for me, language became a mode of thinking, not just a passive tool.

• What about the pivotal moment that changed your cultural trajectory?

There is no single defining moment. My life is simple and routine, and I shift my thinking according to the ideas I encounter. I consider science an existential condition, and therefore I do not hesitate to adopt the most compelling argument, provided it does not contradict my fundamental principles. For me, change is a path to existential progress.

Writing as a form of expression and communication

• Do you write to express an opinion? Or to pose a question?

I write to liberate an inner idea and test its strength in reality. Writing is a provocation for the idea to defend its worthiness to survive. It is a means of expressing my yearning to connect with others, and a linguistic game in which I find a kind of intellectual entertainment.

A reading of the contemporary Saudi cultural scene

How do you interpret the Saudi cultural scene today?

The scene is currently good, though it leans more towards quantity than quality. But this quantity itself is a healthy phenomenon; the scene is self-sustaining, and the discerning audience is the one that chooses what remains and endures. Culture, in its professional sense, is still new to our society. We need time and intellectual development to produce a distinctive culture, one that transcends the desire for personal triumph. Overall, the scene is growing in a healthy way.

• The proliferation of platforms: Has it weakened value or broadened influence?

The proliferation of platforms is a healthy phenomenon; the important thing is to refine their selections to avoid superficiality. The development of these platforms lies not in their technology, but in the development of the minds of those who run them and their audience. Society wants to tell its story, and every individual seeks their place, so this momentum is welcome and will, over time, produce the most deserving models.

The importance of cultural dialogue and its societal impact

Al-Qarni's views on platforms and elitism are gaining significant importance in light of media openness. Discussions on these issues are no longer confined to closed circles but have become part of the public discourse, with thousands of young people participating through social media. This movement contributes to raising awareness, encouraging critical thinking, and reshaping Saudi cultural identity to be more open and engaged with the world. It is a vital stage in maturing societal awareness and defining the characteristics of the new intellectual elite that will lead the future.

The debate on elitism, philosophy, and criticism

Where do you stand on the ongoing debate about the elitism and populism of culture?

I believe in the democracy of knowledge, and that everyone has the right to speak freely. Elitism is a quality bestowed upon individuals based on their competence and responsibility, not a job title or a slogan to exclude dissenters. A conscious society carefully selects its elite, and a true elite is one that bears the responsibility of providing awareness worthy of society.

• Is the accumulation of philosophical terms evidence of culture?

•• Sound intellectual inquiry requires acknowledging previous opinions to build upon them and presenting a new, well-supported viewpoint. This is not mere conjecture, but a scientific methodology. Our society is accustomed to literary and religious discourse, so it may assume that all transmission is flawed, which is incorrect in the humanities. What matters is adhering to the principles of knowledge and presenting what benefits the intellect of the recipient.

• Why are you against what is called “cultural criticism”?

There is no such thing as a discipline called “cultural criticism”; rather, it is “cultural studies.” Criticism is a logical science with an objective methodology. What is called cultural criticism is often an ideological starting point for reaching a preconceived conclusion, such as issuing emotional judgments like “Al-Mutanabbi was a beggar.” This is an ideological judgment, not a scientific, interpretive criticism that examines the actor’s understanding of their actions.