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Writer Kawthar Haykal, widow of the late Abu Bakr Izzat and mother-in-law of writer Khaled Montaser, who recently announced on her personal Facebook page, saying: “Stay for God … Goodbye, beloved, the great writer Kawthar Heikal, my second mother , my beloved mother and my wife Samah, I meet Oh Insha The most honest and pure of those I know.
It should be noted that Kawthar Heikal is the wife of the late artist Abu Bakr Ezzat, and is an Egyptian author and writer who began her artistic life by preparing one of her stories (Great love) as a television evening with the name (Who should live) and her Production ranged in the early stage of his career between documentary film and work as an assistant director in drama and director. Programs where I participated in directing the evening (Zanin) with the late director Hussein Kamal.
As for the most famous programs that he presented, it was the program (Human Positions), and Haykal also presented successful works to the cinema, among them (My blood, my tears and my smiles), (The virgin and the white hair), and (The Two Lovers), and was also famous for her romantic lines in these movies. On the small screen, among his most famous works are the series (A bird in the cage), (The story of each husband), (Crossroads), (Encounter), (The second father), and finally (In a fire pain relieving). ), which is a work involving several stars, including Ilham Shaheen and the late artist Abu Bakr Ezzat and Tawfiq Abdel Hamid.
Despite this, he won several awards for his work, including the Best Dialogue Award for the film (My Love Always) from the Association of Film Writers and Critics, the best dialogue for the film (La Virgen y Poesía Blanca) from the Seventh Cairo. International Film Festival and the Alexandria International Film Festival Award to the film (Lovers), as well as He won the State Promotion Prize and the Order of Sciences and Arts of the first degree and his works were characterized by a realistic romanticism far from the imagination – as she said – and did not recognize the so-called women’s cinema, and says in one of her dialogues: “The difference of gender and gender does not constitute the color of art.
