Netflix docuseries sparks debate and anger over Cleopatra's skin colour

Helga Tor, a member of the Austrian Academy of Sciences who headed the research team, said in the documentary that it was intriguing to discover that Arsinoe IV's mother was African, and that the discovery adds a new layer to the history of Cleopatra's family.

Le Figaro notes that there is no consensus on this theory — either among historians or Egyptologists. The likelihood that Cleopatra had African roots is just one of many hypotheses, and only a specific group of researchers back this theory.

African narrative dominates

The trailer for the Cleopatra series features several researchers discussing Cleopatra's origins, with three different viewpoints presented. One researcher asserts that she is of Ptolemaic descent, which is the prevailing theory. Another suggests that she is Egyptian, while the final speaker says that Cleopatra was black, as per her grandmother's account.

The trailer incorporates cinematic scenes that align with each of these viewpoints and shows the actress's skin colour changing to visually represent each researcher's hypothesis.

Since the screenwriters chose docudrama as the genre to present their work — and as the real Cleopatra is not alive to speak for herself — the final interpretation is left to the director's discretion. However, the narrative appears to support the idea that Cleopatra was of African descent.

Docudramas and artistic freedom

Jada Pinkett Smith — an African American actress who is married to the Hollywood icon Will Smith — produced the series which will be one of many upcoming productions that feature African queens and celebrate their accomplishments.

Critics who choose to judge the series based solely on the actress' skin colour, overlook the fact that it is classified as a docudrama — a genre that includes fictional scenes to help convey historical events.

For example, when depicting a particular battle, the director may use actors in full battle gear and choreograph a fight scene that corresponds to the historical event, rather than relying on the audience's imagination to fill in the gaps.

Can a documentary exhibit bias?

The debate about the objectivity of documentaries has persisted since the genre's inception and throughout its history. When an artist chooses to depict reality from a particular angle, focuses on one aspect while ignoring others, or directs most of their questions toward a specific interviewee, he/she is following their personal preferences.

However, when it comes to this docudrama, which includes acting scenes, biases become more apparent, especially when dealing with a famous historical figure whose origins are still a subject of debate. The acting scenes depict the commentators' viewpoints and do not purport to represent historical reality.

Patricia Aufderheide, a film critic, discusses the subject of documentary film objectivity in her book 'Documentary Film: A Very Short Introduction' (translated into Arabic by Maryam Issa and published by Dar Almada). She argues that the director's choices aim to persuade the audience of their accuracy, benevolence, and rationality.

The fact that film directors have a multitude of options when it comes to representing reality serves as a reminder that achieving a completely pure and transparent representation is impossible. Avoiding expressive choices cannot solve these ethical dilemmas, and such choices are not inherently wrong.

Is banning the docudrama a viable solution?

While it's not uncommon for the public to call for a ban of a TV series, this series stands out as it has not even been aired yet. Just last year, a similar crisis occurred with the Egyptian movie 'Perfect Strangers' on Netflix, sparking outrage and calls to boycott and ban the platform.

Jordan had a similar experience in 2019 with Netflix's drama series Jinn — which some viewers found offensive. This outpouring of rage and resentment may not only be driven by the content of these shows but also by personal and collective frustrations in reconciling with difficult historical moments.

Regardless, banning Queen Cleopatra or Netflix in Egypt will not disprove the hypothesis of her possible African lineage. It's important to note that Egyptian outrage is rooted in the notion that a particular hypothesis has malicious intent and is an attempt to manipulate history.

However, this notion seems somewhat absurd as it insults the intelligence of researchers and people in general, believing them to be gullible enough to believe anything they hear.

Additionally, this idea strips art of its most crucial characteristic, which is its ability to unlock boundless horizons of imagination, new possibilities, and countless prospects that — although sometimes strange and challenging to accept — deserve to be presented.

The ancient Egyptian civilisation — like all world cultures — belongs to the global community, rather than a specific group. Therefore, it is not appropriate for any particular group to act as advocates and caretakers, defending it against perceived enemies.

Some commentators in the debate have raised sensible questions, including why Egypt has not produced works on its ancient Pharaohs and queens based on the findings of its own Egyptologists and researchers?

Despite having a rich and impressive legacy in the film industry, why has Egypt not produced an Egyptian Cleopatra, unlike Hollywood's linguistically inaccurate portrayal of an English-speaking Cleopatra, played by Elizabeth Taylor?

The late Egyptian director Shadi Abdulsalam was the only exception, as he dreamed of creating a blockbuster film on Pharaoh Akhenaton. Sadly, he passed away before he could bring his vision to life, and none of his fellow countrymen shared a similar ambition.