Film goofs - page 76

The shots of lightning in the sky are clearly artificial rather than real.

Some words do not match the mouth movements, such as the scene where Aida talks with Fayeq by the sea.

In the scene where Ahmed and Aida sit on the beach in the presence of her father Mustafa, the background appears to have been composited into the scene.

When Aida apologizes to Mustafa after going to the cinema with Ahmed, there is an error in the music being placed over Aida's line, so we hear no sound when her lips show that she is saying, "I'm very sorry, Dad.".

When Ahmed and Aida sit in front of the waterwheel, the close-up shows the waterwheel's position and lighting differently from the long shot, meaning the image of the waterwheel was composited into the close-up.

In the scene where Doctor Amal requests a transfer, one shot shows her sitting extremely close to the table in front of her, with a shadow visible on the wall behind her; seconds later, another shot shows her sitting farther from the table, with the lighting changed and the shadow gone.

In the car accident scene at the beginning of the film, we see Doctor Moataz's car driving toward the truck, then in the next shot the car hits the truck from a different angle. The shot before the collision also shows that the road is empty and wide, with clear visibility from a distance, making such a collision illogical.

At the beginning of the film, Doctor Amal asks Nurse to call her fiancé Doctor Moataz's phone number, but when she writes the number for her, we see her move the pen over the paper for only a moment and then finish writing.

When Nurse tells Doctor Amal that an emergency case has arrived requiring urgent surgery to remove the appendix, Dr. Amal replies that she is an intern with no experience and that there is no other doctor at the hospital at that time. In such a case, however, another doctor must be present at the hospital during the shift, and an intern is not allowed to perform such surgery in the first place.

The scene of the attack on Ibrahim at the end of the film is clearly unrealistic.

We see the movement of the camera's shadow when Semsem enters Yasmin’s Mother's room at the hotel.

When The Groom and The Bride are being photographed, The Photographer is smiling, but in the following shot he is not.