Randa Kaadi jump over the character’s walls in ‘2020’ – Think and Art – Culture


Many saw in the series “2020” a winning horse in this year’s drama. They loved him and applauded him, and praised Nadine Nassib Najim’s appearance with Qusay Khouli.

Where they presented a joint “high-level” Arab work, bearing the fingerprints of director Philip Asmar, the work succeeded in reaching people who said it was a “clean work” that did not break modesty with “words that made the drama lose its beauty.”

Although Nadine Nassib Njeim and Qusay Khouli controlled the public scene of work, this did not obscure the presence of Randa Kaday, the Lebanese woman who, until recently, did not enjoy all the hype that she got thanks to the character of “Umm El Deeb”, which enabled her to ” Breaking the collar of the typical actress, so Randa Kaadi reveals to us the face of a professional actress.

Her talent was shackled to the limits of Lebanese drama for many years, before she was able to decipher it with the key to “joint Arab drama.”

The scene of the death of “Umm al-Deeb” in the series “2020” did not pass quickly. Eyes opened to the “spinning link” that Nadine Nassib Najim and Qusay Khouli exchanged against their colleague Randa Kaadi, whom some prefer to compare with Mona Wasef in Syria and Amina Rizk in Egypt, where she succeeded. In presenting the role of the mother in every act she placed her signature on his contract.

As in “Last Nafs” by Asad Fouladkar and “Adham Beek” by Zuhair Kanou`, as well as in “2020”, where she was able to change the concepts of interaction with the performance of the roles, so that Randa’s presence like Uday in any work is an addition to him.

In ‘2020’, Randa was able to rally the Arab public to her side, and she succeeded in jumping over the walls of the “personality”, to present a “remarkable role”, as an overwhelmed mother who lives in a society full of lies and poverty, trying to reconcile between her three children, to no avail. And through it, she was able to maintain a high dramatic rhythm, in harmony with Qusay Khouli and his social and popular surroundings, but the dramatic context dictates her departure from work in the middle of it, after Randa had scored a large number of goals in the range of the joint Arab drama, and she succeeded in convincing everyone of her ability To perform more difficult roles in its composition.

“Oh God pardon” a dramatic crisis that Qusay Khouli used to deliver to “Umm al-Deeb,” who expressed through the “spinning link” that brought Qusay and Nadine together, the extent of her love for the two heroes of the work, who managed to steal the hearts of his followers, and they applauded him a lot, and expressed their admiration With it, to see him as a “winning horse” in this year’s drama marathon.



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