On the Orientalism and Imperial Gaze of Western Horror Films

The article critiques Lee Cronin’s The Mummy (2026), a horror film that employs actors of Middle Eastern descent but fails to authentically represent Egyptian culture or language. The director, Lee Cronin, is an Irish filmmaker known for relying on horror tropes and excessive gore. The film stars May Calamawy, an Egyptian-Palestinian actor, as Detective Dalia Zaki, whose Arabic dialogue is described as robotic and unintelligible, resembling a Hollywood parody rather than realistic speech. Similarly, other Middle Eastern characters, including Hayat Kamille as the Magician, speak in a way that feels like a coded movie language, far removed from natural Arabic. The article highlights that despite casting actors with Middle Eastern backgrounds, the film reduces them to caricatures, reinforcing stereotypes rather than portraying genuine cultural representation.

Orientalism refers to a Western perspective that exoticizes, stereotypes, and misrepresents Eastern cultures, often portraying them as mysterious, dangerous, or inferior. This concept was popularized by scholar Edward Said in his 1978 book Orientalism. The article argues that The Mummy embodies this tradition by reducing Egypt and its people to a backdrop for Western horror tropes. The film’s setting—a ludicrous fantasy of Arabian Nights imagery, black magic, and sanitized government offices—ignores Egypt’s real culture, history, and daily life. For example, the film depicts an Egyptian police detective removing her hijab while working, which contradicts real-world norms. The article suggests that such portrayals serve as a foil of civilization, where the East is defined only in contrast to the West, reinforcing a narrative of Western superiority.

The plot of The Mummy revolves around an ancient demon, Nasmaranian, bound to a living host to prevent it from destroying families. When the demon awakens, it possesses the daughter of an American journalist living in Cairo, Katie Cannon, who is tricked by the Magician. The film’s narrative is criticized for its implausible elements, such as an underground pyramid in a modern Egyptian home, a plane crash exposing the sarcophagus, and the Magician’s use of a videotape to record rituals. The article highlights that the film’s portrayal of Egypt is not only fantastical but also devoid of cultural authenticity. For instance, the Magician’s name, Nasmaranian, is noted as sounding Armenian, raising questions about the filmmakers’ understanding of the region. The story’s resolution involves the demon being transported back to Egypt, reinforcing a narrative where Western characters are the agents of civilization and non-Western characters are either villains or passive victims.

The article points out that The Mummy makes no reference to Islam or Coptic Christianity, despite their deep connection to Egyptian culture and history. This omission is notable because religion often plays a significant role in Egyptian society and folklore, including beliefs about sorcery and possession. The film’s lack of religious context is contrasted with its reliance on Catholic prayers by Larissa’s mother, Carmen, in an attempt to exorcise the demon from Katie. The article argues that this oversight contributes to the film’s shallow and stereotypical portrayal of Egypt, reducing its rich cultural and religious heritage to a mere prop for Western horror narratives. The film’s failure to engage with these elements further emphasizes its reliance on tired tropes rather than authentic storytelling.

The imperial gaze refers to a colonial perspective that views non-Western cultures as inferior or exotic, often for the purpose of reinforcing Western dominance. The article argues that The Mummy embodies this gaze by treating Egypt and its people as inert raw material for Western narratives. The film’s characters, despite their Middle Eastern appearances, are portrayed with Western mannerisms and behaviors, such as Detective Dalia Zaki eating a sandwich while standing or the Magician’s daughter speaking in a way that mimics American dialogue. The article suggests that this reflects a predatory culture that cannot conceive of non-Western people as fully human outside of Western frameworks. The film’s reliance on American horror tropes, such as exorcisms and sandstorms, further underscores its narcissistic focus on Western perspectives, even when set in Egypt.