Before his name became closely associated with bold, socially grounded cinema, Mohamed Diab entered the industry through writing, contributing to popular Egyptian films like Alf Mabrouk and El-Gezirah. But it was behind the camera that his voice began to fully take shape—one drawn to tension, confined spaces, and characters navigating systems larger than themselves.
Across his films, whether set in the streets of Cairo, inside a police truck, or within deeply personal family dynamics, there’s a consistent pull toward human stories under pressure. That throughline now continues with The Note, his upcoming project with Netflix—making this a fitting moment to look back at the work that led here.
The Note (Upcoming)
With The Note, Mohamed Diab shifts his focus to the United States, drawing on his own experiences there. The film is described as deeply personal and rooted in the idea of disillusionment—particularly with the promise of the American dream.
It carries the same kind of intimate, human-centered storytelling seen in his earlier work, but placed in a new cultural and social landscape. Rather than spectacle, the emphasis remains on character, conflict, and the quiet unraveling of expectations.
Asad (2026)
With Asad, Diab goes big—really big.
Set in 19th-century Egypt, the film follows a slave whose personal loss transforms into rebellion. It’s been years in the making, written with Sherine and Khaled Diab, and shot across multiple locations over 67 days.
What’s interesting is that even with all that scale, it still feels like his kind of story: a person pushed into impossible circumstances, forced to fight back against a system stacked against him.
Moon Knight (2022)
Then there’s the unexpected turn: Moon Knight.
Working with Marvel Studios, Diab became the first Arab director on a Marvel series. The show, starring Oscar Isaac, blends superhero action with Egyptian mythology and psychological depth.
And somehow, even here, you can still feel his signature—questions of identity, internal conflict, and fractured realities.
It also racked up eight Emmy nominations, the most for any Marvel series that year.
Amira (2021)
With Amira, Diab shifts into something more intimate again.
The story of a Palestinian girl born through smuggled sperm from her imprisoned father sounds almost unbelievable—but the film grounds it in raw emotion. When her identity is shaken, everything unravels.
Premiering at the Venice International Film Festival, it received a standing ovation and major acclaim.
Diab himself said this was a space where he could take risks he wouldn’t even attempt in bigger productions—and you can feel that freedom in every scene.
Eshtebak(2016)
Before that came Eshtebak—arguably one of his boldest ideas.
Set entirely inside a police truck during the political unrest of 2013, the film traps characters from opposing sides together in one suffocating space. Diab rewrote the script 13 times to get it just right.
It premiered at the Cannes Film Festival and even caught the attention of Tom Hanks, who encouraged audiences to watch it.
It’s intense, claustrophobic, and somehow still deeply human.
Cairo 678 (2010)
And finally, we arrive at Cairo 678—the film that started it all.
Released just before the Egyptian Revolution of 2011, it tackled sexual harassment through the stories of three women navigating it in completely different ways.
It didn’t just resonate—it ignited conversation. The film became a cultural landmark and picked up major recognition, including awards at festivals like the Chicago International Film Festival.
More than anything, it introduced Diab as a filmmaker willing to confront reality head-on.
Coming Full Circle
When you look at the journey in reverse, The Note doesn’t feel like a new direction—it feels like a return.
Different country, different context—but the same core question running through everything he’s made:
How do people hold on to themselves when the world around them pushes back?
And somehow, whether it’s Cairo, a prison, a police truck, or even a Marvel universe… he keeps finding new ways to ask it.
Here’s to Everyone Who Doubted the Authenticity of Tom Hanks’ Letter to ‘Eshtebak’ Director
