An aspiring singer (Amr Diyab) lacks opportunities to pursue his goals until he teams up with a student and an alcoholic street musician to form an outfit that gets gigs by pretending to be handicapped. The film is strident, diffuse, crappy-looking, and finally terrible, but its device of having people burst into short fragments of song in naturalistic contexts seems appropriate for a contemporary musical and could easily be used in a Hollywood film (probably with fewer scenes of people crying). —Bostonphoenix
Khairy Beshara (Arabic: خيري بشارة; b. June 30, 1947 in Tanta, Egypt) is an Egyptian film director active in the Egyptian film industry since the 1970s. He is considered one of the Egyptian directors who re-defined Realism in Egyptian cinema in the 1980s.
Beshara completed his high school in Cairo then joined the Egyptian Higher Institute of Cinema where he graduated in 1967. He then went to Warsaw, Poland on a fellowship for two years where he met his future wife, Monika Kowalczyk. He started his career with a focus on documentaries then moved to feature narratives and directed 12 long features that were screened at various international film festivals. He is one of the first Egyptian and Arab directors to venture into digital film making in the late 1990s. —Wikipedia