DIRECTOR

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MOGA HARRA

Started with cartoonish mask doodles and ended up being a torn, untamed psychedelic film.&nbsp;A great track and the rogue, grungy art direction of this ad gave us the fluidity and freedom to add graphics, post- production effects, and doodles to create something psychedelic.&nbsp;The visual can speak for itself.

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Featured

Live + GFX

El Gamaa — Season Two Opening SequenceFor the second season of El Gamaa, the story steps into darker terrain—unfolding a chapter of Egypt’s past where ideals clashed, and shadows grew long. The brief wasn’t to retell history. It was to haunt it. We crafted a live-action opening, drawing inspiration from Akira Kurosawa’s rice paper compositions—layered silhouettes, backlit tension, movement behind screens. Every frame was designed like a secret being overheard. Characters appear as echoes, not portraits. Events aren’t shown—they’re suggested, like ink bleeding through fragile paper. The visual language honored the era without reenacting it. We let the fear sit still. We let the silence carry weight. And in those few opening seconds, history became memory—fleeting, uncertain, and far from resolved.

DIRECTORS

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AL-GAMA'AH II

Film Branding

Kiss Me Not “Opening Sequence”&nbsp; &nbsp;For a film that questions performance at every level, the opening had to perform too. Kiss Me Not, Ahmed Amer’s sharp meta-comedy, opens on a set where intimacy stutters and cinema censors itself in real-time.We designed the title sequence as a visual warm-up act—heavily inspired by Saul Bass, but with a modern, anxious twist.&nbsp;&nbsp;Think bold forms, fractured rhythm, and typography that flirts, stumbles, and retreats. Like Bass, we let the motion speak—but here, it’s speaking with hesitation, with satire baked into every frame.The influence was clear. The attitude was ours.A wink. A tease. A kiss almost happening—just not quite.

MOGA HARRA

MOGA HARRA

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AL-GAMA'AH II

BALASH TEBOSNI