Egyptian businessman Mohamed Mansour receives the title of “Sir” from the United Kingdom

The passage of episodes of the series “Close Your Eyes” confirms its uniqueness. It is not major events that move him, but warmth, and that is enough. He avoids the rhetorical material that usually accompanies the topic related to social status, and is keen on the simplicity of his dramatic structure because it contains emotional charm. The story of the lonely boy is presented with love.

The distribution of the series (written by Ahmed Al-Mulla and Louay Al-Nouri, directed by Moamen Al-Mulla, and produced by “Al-Adham International”), over two time periods – the first extending until the middle of Ramadan, with the second continuing the narrative until the end – divides the approach into two important levels: childhood and youth. The case is the heroine; For her sake, Amal Arafa is recruited as the character “Hayat,” and Abdel Moneim Amairi as the character “Mo’nis,” with Mona Wassef as “Umm Raja.” Feelings, emotions, and the height of honesty. The work presents a panoramic view of the autism spectrum and the suffering of the person affected and his family, within a generally unjust social context, with some exceptions.

“Hayat” was imprisoned for 11 years due to the slander of a colleague who implicated her and he escaped, an introduction to indicate what goes beyond the cruelty of the bars. The joy of the series is in its projections, and its beauty is in the meanings between the lines. He went beyond the consumer and did not make prisons look like human cemeteries, and he advanced the approach when he added tenderness to the relationship between the female prisoners. Prison is not iron, but life. So he gave his heroine this name. The jailer is not only the one who locks the cage door with the key, but rather the monsters outside and those who practice harm and are devoid of their depths of mercy.

The work is humanitarian, raises the importance of awareness about dealing with “the different,” and shows the deep gap related to communication between humans. It addresses rejection, ostracism, and ignorance of how to include people with autism, and highlights the fragility of the culture of inclusion and its confinement to specialists. He warns against melancholy and excessive complaining, and gives nobility to characters who constitute a human beacon. We see kindness in the form of novelty, and wonderful giving in the form of a man who experienced loss and sought to compensate for it. Man is the direction of the series and its paths, and the highest value worthy of a second chance.

Motherhood at its extreme is summed up by Amal Arafa, who fluctuates between her prisons. Like a mother, Mona Wassef applies the proverb, “No child loves except his own,” and delivers a pearl-like performance. Love gives strength despite fear, and the voice rises for the first time after silence. Late confrontation occurs; Its heroine is Wassef, who stands up to the man with the black heart. Fayez Qazaq as the character “Abu Raja”, who hates his daughter “Hayat” for being married, without his consent, to a husband who abandoned her, adheres to cruelty until the last scene. A 24-karat gold artist uses frowning and shrinking to translate inner hatred. He does not have mercy on a child, nor does he forgive the past. The confrontation with Wassef, before the curtain came down on his role, “Master Sen,” led by two seniors.

Also on the front lines, Amal Arafa shines. Blame and its justifications fuel the mother-daughter debate. When the reason is known, the wonder ceases. The series makes Amal Arafa and Mona Wassef models of unconditional love, reinforced by blood ties, without generalizing the rule. The grandfather is devoid of emotions despite this connection. He lived and died filled with blackness. The blood factor irrigates the roots, and sometimes decay and toxins cause them.

Do not frame the equation of love and the balance of giving within one form. With nobility freed from ties, Abdel Moneim Amairi plays the character “Moaness.” The name is not fleeting, but it is also a carrier of significance. He gives Jude, who suffers from autism, the love of the family he was deprived of in childhood, and the support of his father in his youth. In “Mo’nis” there are moments of Anas that are not always preferred by the image of a man in soap operas. Although some of this love is motivated by a hidden desire for possession, the source of which is his need for a child to replace his son who was killed in a traffic accident, then the character presented a wonderful example of dedication that can be set as an example. The longing for compensation can trump blood ties of all shapes and forms; The human quest for comfort works wonders. With the mastery of an artist, Amairi raises the value of the role, when he sharpens it with extreme emotion mixed with jealousy and confusion. He seems to be a father who does not need papers proving the extent of the responsibility placed on him, nor the hardships of fatherhood that coincide with its greatness.

The context is not limited to the case and its parties, so more threads branch out. There is psychological illness when a person is thrown into an embarrassing situation. Wafaa Mosalli as the character “Umm Salam”, playing a new and striking role. What is meant to be said is that the disease is numerous, and its victims are all human beings, in varying proportions. Some are sick with possessiveness, some with hatred, and others with ambition. Hala Rajab, as the character “Salam”, presented the viewer with a dramatic “shock” whose title was questioning intentions. Also skillfully, she plays a character who pays the toll of a broken family, and tries to compensate as much as possible. Her decisions are titled “Extreme,” and after condemning marriage, she gets married, without the longing for an old love leaving her (a subtle presence by Jaber Joukhadar as “Yamen”).

The distinctiveness of the characters includes Ahmed Al-Ahmad as “Zorba.” The man is in his fifties and completely abandons others, except for his freedom. A personality that is the daughter of life, baptized with its light and fire. Professionally, he changes the stereotypical view of age.

The child Zaid Al-Beiruti and the young man Ward Ajeeb play the roles of the autistic “Joud” in two times. They are both talented. The series is successful in the game of time, as it does not limit the treatment to the childhood of autistic people, but rather expands it to the sensitive university stage at the level of communication and confrontation when exploiters abound. Fayrouz’s songs in the background announce the dominance of warmth over the prolonged frost.