A Shot, a digital magazine co-founded by Belal Abd Elaziz, a journalist and storyteller, and journalist Hussien Ashour in 2019, emerged from a profound passion for cinema and a desire to connect with a broader audience.
The inspiration for launching A Shot stemmed from Abd Elaziz’s passion for films. He frequently shared his thoughts and favorite film frames on his personal Instagram account, but he wanted to create posts related to films with broader appeal.
As a result, both Abd Elaziz and Ashour collectively created the A Shot Instagram account as they were intrigued by how a single movie frame could motivate viewers to watch an entire movie, often bypassing conventional marketing methods.
The account’s posts on social media elicited strong reactions, with comments such as, “You guys can make a bad movie look good,” showcasing the visual storytelling they were practicing.
“A Shot did not initially start as a magazine; it began as a platform for sharing cinematic insights,” Abd Elaziz told Egyptian Streets. However, after a year of growth and development, it underwent a complete rebranding, evolving into the digital magazine that audiences recognize today.
Abd Elaziz described the repetitive and “safe” imagery that predominates the region’s visual media. Photography often relies on familiar cultural stereotypes, predictable aesthetics, and limited representation.
He expressed a strong desire to move away from this conventional imagery commonly found in “Middle Eastern photography.” Abd Elaziz pointed out that many local magazines feature titles like “MENA” or “Arabia,” yet they often lack a genuine international perspective.
Despite the challenges of launching a magazine from Egypt, Abd Elaziz and Ashour were on a mission to build connections with global studios.
Social media has also played a critical role in A Shot’s prominence. From the outset in 2019, they opted not to invest in ads or promotions. Instead, they focused on sharing their genuine love for films through compelling visuals and engaging writing on Instagram and Facebook.
As A Shot grew, Abd Elaziz highlighted the importance of a unique approach to curating content. “We aim to balance international cinema with a focus on Arab talent, which has not been without its challenges,” he remarked.
About two years ago, Abd Elaziz and Ashour began to focus on their Instagram account. Prior to that, the account had around 7,000 followers, but the duo was not posting frequently.
“People kept telling us that Instagram was the ideal platform for our content, and they were right. Over time, I realized that Facebook numbers no longer matter; it’s all about Instagram and X now, especially regarding how Hollywood promotes its films,” he told Egyptian Streets.
Abd Elaziz said that many studios in the Arab industry initially did not understand their vision, and he faced skepticism about A Shot’s legitimacy. By making it clear that A Shot was meant to become an international space that also highlights Arab talents, they began to attract interest and collaborations.
Their collaborations have included partnerships with major studios such as Netflix US, NEON, Lionsgate, and Warner Bros, working on media and promotional partnerships, exclusive interviews, and features.
Abd Elaziz shared that NEON has become their go-to studio for horror films as they interview their movie stars and review their films — a genre the team is particularly passionate about. They had been consistently posting and sharing NEON’s work purely out of admiration, with no expectation of a response.
Eventually, they proposed a collaboration for the horror film, Cuckoo (2024), which NEON accepted with enthusiasm, marking the beginning of an ongoing relationship.
“We did another collaboration, then Longlegs (2024), and eventually, they followed us back. Around the release of Anora (2024) last year, I reached out to discuss collaborating on the campaign. They revealed they had been fans of ours for a while and had been following our work,” Abd Elaziz declared. Since then, A Shot has collaborated multiple times with the studio, and their relationship has grown organically.
“Now, big studios trust us with screeners and even allow us to interview the stars of their films. It feels like a love letter that has evolved into a genuine partnership, as they truly believe in what we do,” said Abd Elaziz.
However, Abd Elaziz mentioned that they often encounter rejections in the Middle East due to unfamiliarity with their marketing approach. Despite these challenges, they have persevered, seeking to connect with companies that share their vision and style.
Each post aims to capture the essence of a film, emphasizing the cinematic value of the images presented. This organic growth has fostered a unique identity for A Shot, allowing them to build authentic connections with their audience.
Abd Elaziz recognized the transformative effect of technology on filmmaking and audience consumption. He views these changes as opportunities rather than obstacles, allowing for a broader exploration of cinema.
Consequently, A Shot’s editorial choices have become more intentional, focusing on visuals that encourage audiences to pause, reflect, and engage deeply with the content.
While they primarily focused on creating still images and collages, they have begun to experiment with dynamic formats to meet contemporary audience preferences.
“The magazine’s vision extends to ensuring diverse voices and perspectives are represented in film, particularly from underrepresented communities,” Abd Elaziz underscored.
By covering independent films, Arab cinema, and emerging talents, A Shot aims to redefine global cinema representation. Abd Elaziz also stressed the significance of supporting rising talent, often reaching out to actors with minimal followings to offer early support.
Looking toward the future, Abd Elaziz voiced concern about the direction of film journalism, particularly as influencers and social media personalities increasingly dominate the landscape.
He highlighted how many PR companies now invite influencers to press screenings, often prioritizing promotion over informative content. Despite this, Abd Elaziz shared that social media is the future of journalism and that A Shot can adapt to these changes while maintaining journalistic integrity.
A significant milestone for A Shot occurred with a viral interview with actress Melissa Barrera, which garnered attention from major outlets like Collider and Forbes. This experience reinforced their belief in the power of interviews and the importance of establishing genuine connections with talent.
By reaching out directly to Barrera for an interview rather than going through traditional PR channels, they secured an impactful conversation that resonated globally.
Personal Influences
When discussing personal influences, Abd Elaziz cited David Lynch as a pivotal figure in shaping his understanding of cinema. Lynch’s works, particularly Twin Peaks and Mulholland Drive, have profoundly impacted his perception of storytelling and visual expression.
He also admires directors like Denis Villeneuve and Christopher Nolan for their capability to merge profound narratives with cinematic spectacle.
In the realm of Arab cinema, Abd Elaziz holds Daoud Abdel Sayed in high regard. He shared that during difficult periods in his life, watching Abdel Sayed’s films provided comfort and a sense of connection as Abd Elaziz relates to his characters.
The spiritual energy present in Abdel Sayed’s work resonates with Abd Elaziz, reinforcing the importance of authentic storytelling.
Through its dedication to genuine representation and storytelling, A Shot is carving out a unique space in the cinematic landscape.
By connecting local talent with global audiences, the magazine continues to redefine the narrative surrounding film and art, striving to ensure that every voice is heard and celebrated.
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