the cities

Today, Saturday, the Egyptian artist Sherine Seif Al-Nasr passed away at the age of 57 years.
Sherif Saif Al-Nasr, the artist’s brother, wrote on his Facebook page, saying: “My little half-sister, the artist Sherine Saif Al-Nasr, passed away today, to God’s mercy. The prayer and burial took place in the family graves in peace and quiet, as the deceased requested.”

The news of the death of actress Sherine Saif Al-Nasr is shocking. She was one of the screen beauties of the nineties. She was distinguished by her style that was different from the actresses of her generation. May God have mercy on her and forgive her, O Lord 🤲🏻 💔 pic.twitter.com/gsoCcbKNcq

— classic ♫ (@i_classic__) April 13, 2024

Sherine’s name was at the top of the “X” website in Egypt, and the site’s users shared the news of her sudden death with pictures of her and information about her.

Sherine is an Egyptian actress, born on November 27, 1967 in Jordan. She was born to an Egyptian father, journalist and writer Elham Seif Al-Nasr, and a Palestinian mother from the Hashem family of Jerusalem, which is the Jordanian royal family. She graduated in 1991 from the Faculty of Law. She lived in France for some years, where the artist Youssef Francis met her while working there at the Egyptian embassy and discovered her. She participated in the series “One Thousand and One Nights” in 1986.

Sherine Seif Al-Nasr emerged as one of the beautiful faces in the nineties of the last century, but she did not rely in her roles on embodying the character of a beautiful girl. She played the role of a journalist seeking the truth in the movie “Sleeping in Honey” with the star Adel Imam.

Sherine participated in about 31 artistic works throughout her artistic career. Her last work was the series “The Hardest Decision” in 2007, and one of her most prominent works is the series “Who Doesn’t Love Fatima?” “Money and Children,” “Angry and Angry,” and “The Thief I Love,” and she participated in limited artistic works over the course of about two decades, presenting 9 films, including “Prince of Darkness” with Adel Imam, and “All of them in Hell” with Kamal. Abu Rayya, and “The Hanim Driver” with Ahmed Zaki.

Sherine married 3 times, and her first marriage was to a Saudi businessman. She disappeared from the arts at that time before returning again after the divorce. She then married the singer Medhat Saleh and they divorced after 4 months. Sherine announced her marriage for the third time in 2010 to the plastic surgeon at the German Hospital in Alexandria, Raif El-Feki. They later separated.

To God we belong and to Him we shall return.. The death of the beautiful artist Sherine Saiq Al-Nasr at the age of 56.. With her death, a memory that carries many beautiful memories for us and her large fans was awakened.
A thousand mercy and light #Sherine_Saif_Al-Nasr pic.twitter.com/EEVOndYVG3

– Sami Kamal Eldeen (@samykamaleldeen) April 13, 2024

Sherine’s last conversation was during a phone call with the “Masaa DMC” program on the DMC channel, and she attributed the reason for her disappearance from art to the death of her mother, to whom she was very close. She also indicated that she was studying the idea of ​​her return again, explaining that she had been offered many jobs and might return. Within two or three months, I will work in a movie.

Sherine Saif Al-Nasr confirmed in previous interviews that she felt her life was stolen in the play “Body Guard,” expressing her anger at the filming of the play after apologizing for not completing her role, and her colleague Raghda appearing in the filmed version instead of her.

Perhaps he carried this huge loss until his last moment, and confided his grief to his companion, Latifa Multaqa. That multi-functional and multi-dimensional theater was a dream that tickled the ambition of Antoine and Latifa ever since they were concerned about the stage and the laboratory. This was at the height of the Lebanese theatre’s brilliance, before the small country’s wars struck it.

But the irony is that they came back and regenerated it from the womb of ugliness, and made it a bright oasis in a gloomy desert during the eighties of the last century. “War on the Third Floor” and “The Slug.” Two works with which Latifa Multaqa inaugurated the second birth of the Dream Theater in the early nineties, with the advent of the so-called peace. Antoine stood at Multaqa one winter evening, greeting his and Latifa’s guests who had ventured into the alleys of the Mar Mikhael area to attend the first show. Yesterday’s comrades are here, as well as his students at the Lebanese University, who were tainted by passion, effort and perseverance.

Fortunately for me, I was there, a young journalist, learning the alphabet of the profession in the confines of the now defunct Al-Safir newspaper. I returned from that evening with a collection of photos that Professor Obido Pasha took with pleasure. When I whispered to him that I had tried to write something about what I saw, I wish he would find a way to publish it, he promised me well, and quickly fulfilled his promise, “because the material is worthy.”

It was not long before Beirut became abuzz with something unexpected: the Multaqa family was on the verge of a major loss. The owners of the “Maroun Naqqash Theater” decided to restore it no matter what the cost, and the goal is… to turn it into a sewing workshop.

“Yes, a seamstress, you imagine?”
Antoine Multaqa said it in the tone of a father grieving for his child, as he received me in his humble house in Ain El Remmaneh. I had joined the An-Nahar family, and decided to investigate the truth of the matter in the hope of conducting an investigation. The truth is that I did not believe it for two reasons: First, because the thread of clothing in a happy homeland has become far more important than the thread of minds and tastes. Second, because I was expecting to meet Lawrence Wargrave, not Antoine Multaqa. I was still the young boy, fascinated with horror and amazement by the character of the judge-executioner in “Ten Young Slaves.” And I was faced with another “meeting”, which I thought was false, but it was authentic and authentic: allied with honesty, no matter how widespread hypocrisy was, and rebelling against distortion until the last breath. I was confused about the matter, and the exceptional actor achieved his goal.

This was his daily battle with generations of his theater followers, many of whom joined the “Lebanese Theater Circle.” His obsession is to extract from him, as a director, the maximum of their talent pool, and to be, as an actor, a role model for them to emulate.

To the extent that he embodied mystery, hypocrisy, and cruelty in the depths of the isolated palace, and tyrannized its residents in order to achieve justice that had strayed from his custom, he was clothed with cunning, cunning, and circumstance, and he set about unraveling the mystery of Mrs. Leidner’s murder at the hands of her husband, the condescending professor. He is the detective Ercole Poirot in the series “Murder in the Castle”, based on the model “The Ten Slaves” from the novel by Agatha Christie. “Lebanon Television” showed this work in the first half of the 1980s, and many people may not remember it, perhaps because of the war conditions at the time, and perhaps because it did not get its share of re-showing like its predecessor. I wish the official screen would dust it off, in honor of one of the giants of the Lebanese stage.

Antoine Multaqa did not rejoice in the recovery of the Maroun Discussion Theater, but with his departure he took away a piece of our memory that we will never be able to recover. Goodbye, Your Honor.