I did not expect to be this emotionally invested in a romance this Ramadan. But here we are.
The pairing of Dina El Sherbiny and Asser Yassine carries a kind of effortless charisma that doesn’t feel engineered. Their chemistry is built on restraint. It lives in the pauses, the glances, the moments where nothing dramatic happens yet everything shifts.
What makes Etneen Gherna stand out is that it refuses the loud formula. There is no larger-than-life hero arc, no action-driven masculinity, no exaggerated confrontations. Instead, it focuses on something far more difficult to capture: emotional realism.
It’s a romantic story, yes. But it is also a study of how relationships shape us psychologically. How timing, ego, unresolved trauma, and silence quietly alter the course of our lives.
It feels honest, and that honesty makes it linger longer than expected.
This one is difficult to watch. And that’s precisely why it works.
El Set Mona Lisa creates a kind of tension that sits under your skin. You find yourself wanting to intervene. To warn her. To tell her to walk away. To question every decision.
And yet, the more you react, the more you understand.
At its core, the series follows a woman trapped inside a lie that has grown larger than her control. She is surrounded by people who operate without empathy or accountability. There is no kindness in their ambition. Only calculation.
The frustration it creates is real. But so is the sympathy. It is uncomfortable television. And it is difficult to stop watching.
Ramadan does not feel complete without Huda Hussein.
El Ghomidha carries the atmosphere that Gulf dramas do particularly well. The visual world is carefully constructed. The lighting, the pacing, the production scale all reflect clear investment.
Huda Hussein anchors the emotional gravity of the series with quiet authority. She does not need dramatic excess. Her presence alone steadies the narrative.
Some shows demand attention loudly. El Ghomidha does not. It builds its mood patiently and trusts the audience to stay with it.
https://www.youtube.com/watch?v=kv869ubBco4&list=RDkv869ubBco4&start_radio=1
Directed by Sawssen El Jemni, one of the most anticipated names in Tunisian television, El Khotifa arrives with confidence.
There is something assured about its pacing and emotional structure. It does not rush itself, and that restraint gives it weight.
Lamia Laamri’s comeback after years of absence carries particular emotional significance. Her performance is delivered ‘avec beaucoup de justesse’, with a precision that feels both controlled and deeply felt. There’s a quiet nostalgia in seeing her return, but the performance never relies on memory alone. It stands on its own.
The younger actors also rise to the moment. A special mention goes to Eya Bellagha, whose presence feels natural and grounded within the ensemble.
It is a series that feels considered, not accidental.
There is always one Ramadan series that feels light in the best way, and for me this year, it’s Heya Chemya.
It’s unapologetically a comedy, built around two completely different brothers whose lives constantly collide. The humor comes from contrast. Their personalities clash in ways that feel natural, which makes the funny moments land without trying too hard.
The chemistry between Mostafa Gharib and Diab is one of the strongest elements of the show. Their back-and-forth feels effortless, and many of the funniest scenes come directly from their interactions. The reunion of Michel Milad and Mostafa Gharib adds another layer of comedic timing that feels familiar and comfortable.
And honestly, Ramadan always needs one show that just makes you laugh.
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