Film goofs - page 33

Hayam dictates her mobile number to Salah as ten digits, but the mobile number should have 11 digits (as the numbers had been expanded before the film was produced). Even if the intention was that the film takes place before the date when mobile numbers were expanded, in the final quarter of the film we see Salah's mobile number with 11 digits.

When Hayam tears the newspaper page and throws it into the Nile, we see the hand she throws it with on the iron railing of the bridge, but in the next shot (from below the bridge) we see a difference in the position of her hand on the railing.

The name of actress Hoda Hassan (in the role of The Factory Women 8) is written twice in the second credits for the same role (consecutively).

The name of actor Ahmed Taha Araby (in the role of The Coffee-house Waiter) is written twice in the second credits for the same role (under the heading "Residents of Al-Abageya").

The name of actor Ashraf Nagy (in the role of The Rag-and-Bone Man) is written twice in the second credits for the same role (under the heading "Residents of Al-Abageya").

The name of actress Magda Muhammed Nassar is written twice in the second credits, once in the role of Ihab’s Mother and once in the role of The Factory Supervisor.

The name of actor Muhammad Khamis is written twice in the second credits, once with the main roles and once with the secondary roles (for the same role).

Orabi is pushed into a glass window, and we hear the sound of shattered glass on the ground, whereas when the glass falls to the ground, it bends and appears to be pieces of plastic, not glass.

When The Pasha asks Hamam whether he is the new teacher, we see the scissors in the hand closest to the camera and that hand is raised, but in the next, closer shot we see the scissors in the other hand, which is the one raised.

When one of the dogs howls in the final performance, we see its head raised, but in the next, wider shot we see its head in a normal position. We also hear the howling without seeing its movement as in the earlier shot.

When the camera moves closer to Tohfos after his clothes get caught on the fishing rod of "Hamdi," one of the troupe members, we notice the shadow of the camera moving on the train and on Tohfos's clothes with its movement.

When Amina remembers her first audition with the troupe, we see Salah walking toward the troupe, but we notice the shadow of the camera moving on the floor and wall with its movement.