The Definitive Guide to Living in the Capital

La Bodega is a staple on the Cairo restaurant scene. Cairenes of allsorts see the history in its walls and the years gone by. Sounds dramatic, but it's true. Over the last few months, however, rumours have surrounded La Bodega is to close down. So, think of this as an exercise in nostalgia. On the first floor of a grand old Zamalek building in 26th of July Street, La Bodega is a high-ceilinged, warm setting with lots of deep woods and stand-out furniture pieces. With three distinct areas – the restaurant, the bar and a lounge in a closed-off room towards the back – we chose a dining table with a banquet on one side, where our group of six settled in for a laid back meal. The menu is diverse and couldn't really be narrowed down to a single cuisine, with choices such as chicken curry, Algerian couscous with lamb and rabbit a la bourguignon on offer. From the array of appetisers, we chose the beef Carpaccio (55LE), which was thinly sliced and juicy, served with a light dressing drizzled on top. The spicy calamari (42LE) was cooked to a perfect consistency, but was sweeter than it was spicy. A usual hit at La Bodega is the aubergine and halloumi (38LE), and while the ingredients were all there, the dish was unfortunately served a bit cold, which didn't fare well with the cheese. On the other hand, both salads – the artichoke (33LE) and the goat's cheese (36LE) – were vibrant and refreshing, though the dressing on the artichoke was a little on the thick side. We also sampled the mushroom soup (22LE) and French onion soup (21LE); the former was absolutely delicious, being perfectly creamy and full of fresh mushroom flavour. The latter was less enjoyable, though; it was a little too sweet and quite thin. If you're looking for a heartier meal, their beef fillet (95LE) has always been a crowd-pleaser, as is there Chinese style chicken (64LE), while the wide choice of fish dishes are also a safe bet. For dessert, we selected a chocolate soufflé with rum and vanilla ice-cream (30LE). We asked for it without the rum, but regardless, the chocolate pouf of a dessert was probably the downfall of our meal. The whole thing was sloppy, with a suspicious coffee flavour to it. La Bodega of course serves alcohol, where the most expensive bottle of wine, Jardin Du Nil, goes for 230LE. All cocktails are 55LE and beer is about 20LE a bottle, or 46LE for a Heineken draught. While the food faltered in certain areas, dining at La Bodega is generally a very pleasant experience. The service is attentive, while the atmosphere itself is sophisticated yet relaxed. The best thing about La Bodega, however,  is the fact that not much has changed over the years, and for that we have always been thankful.

The abundance of international brands on the Cairo shopping scene really does leave us spoilt for choice. Unless we're mistaken, if there are two things most ladies love, it's shopping and pampering; combine the two and it's sure to be a recipe for success. Since its opening in 1990, American chain, Bath & Body Works, have set up shop in several of Cairo's busiest malls. Before we even saw the shop, we were drawn in by a wave of deliciously fruity fragrances. Following our noses, we wandered into the perfectly organised, perfumed haven. The displays were clearly labelled and organised by product, smell, and as a result, colour too. This, combined with an abundance of testers and a friendly shop assistant, made for pleasant, stress-free browsing. Everywhere we looked we found pampering products with exotic names; a delicious smelling Midnight Pomegranate was available as a shower gel (175LE), body mist (195LE), lotion (150LE) and a heavy, creamy body butter (145LE), which worked miracles on our skin. At the time of our visit, a buy three, get one free promotion was running. A range of aromatic perfumes were also available; from a full-bodied, sensuous Black Raspberry (295LE) or a sweet Warm Vanilla Sugar, to a rich and woody smelling Twilight Woods (295LE). These smells aren't just limited to body mists though; we found many of the same 'flavours' in candle form, ranging from 60LE to 280LE depending on their size – our favourite was the Wild Strawberry Savage candle, which smelt exactly as you would imagine. Pretty oil warmers were available and we also spotted some decorative metal candle sleeves priced from 70LE to 95LE. The products at Bath & Body Works aren't just for personal pampering; attractive gift boxes are ready-made to help make the difficult decision of what to pick that bit easier. For 520LE, shower gel, body lotion, mist, moisturising cream and a small candle all come as a package, wrapped in clear cellophane, complete with a big pink bow. Alongside all of these bath, body and fragrance must-haves, Bath & Body Works also stock travel-sized toiletries, bath accessories such as exfoliating sponges, foot care and beauty goods, as well as several shower and body products for men. Unfortunately, Bath & Body Works doesn't distinguish itself massively from other, comparable international brands, although they do offer a massive variety of sweet-smelling products of similar high quality. We can almost guarantee that if you walk into Bath & Body Works, you'll feel compelled to come out smelling just as good as the shop itself, even if it is a little expensive.  

Yet another purveyor of frozen yoghurt and ice cream in Cairo has opened its doors! New at Nile City Towers, Scoops is actually pretty good, offering real Italian Ice-cream – or 'Gelato' to Italians - as well as tasty frozen yoghurt. We marched along the concourse to their small, bright pink corner shop to try out their chilled desserts.    The space itself is small but adequate, sporting two large glass counters; one brimming over with tempting ice creams and the other full of tens of colourful toppings. Unfortunately, there is no seating area, meaning that take-away is the only practical solution. Offering both natural and flavoured yoghurts, prices range 20LE-49LE, with the flavoured varieties - which only featured chocolate at the time of our visit – costing only slightly more. We went for a natural small frozen yoghurt with three different toppings; chocolate chip, Kit Kat and granola (29LE) which turned out to be an excellent combination, perfectly complimenting the icy, bitter-sweet, sharp taste of the natural yoghurt. Scoops of Gelato Italiano ice cream range at 13LE-34LE, whilst 400 gram tubs are 68LE and 750 gram tubs are 99LE. To help us decide which flavour to choose, we were given testers of the Ooh La La La Oreo Gelato, Vixeny Vanilla and the Playful Pistachio. All the ice creams were delicious, and almost positively authentic, with the Oreo ice cream tasting incredibly chocolaty with a rich biscuit aftertaste; meanwhile, the vanilla was creamy and fresh, whilst the pistachio boasted a good balance of sweet and nutty. Rather than purchasing a straightforward ice cream, something more unique caught our eye. Scoops sells brightly-coloured flower pots filled with chocolate, strawberry, vanilla or mango ice-cream, topped with chocolate crumbles and a fake flower for 22LE. We went for the exotic mango flavour – a choice we didn't regret. Although the chocolate topping was delicious on itself, and even chewy in parts, the chocolate-mango combination didn't quite work.      Alongside the ice cream range, fun-looking Gelato pops – essentially lolly pops of ice-cream – are priced at 14LE each, 74LE for 6 or 119LE for 12. You can also grab a caramel, vanilla or chocolate milkshake for 30LE, or an espresso for 12LE. Scoops' branding doesn't distinguish itself much from its numerous competitors, and generally doesn't do it justice, because their ice cream truly is delicious – and that's what really counts!

Bars in Cairo are a dime a dozen these days and have to stand out in order to pull in the 'right' clientele. Despite the current economic – and political – climate, Graffiti Bar and Lounge has gallantly opened its doors in the esteemed Four Seasons Nile Plaza hotel in Garden City. The hotel itself is both plush and luxurious, with marble staircases and sumptuous carpets leading the way to the bar's grand double doors. After walking down a small corridor lined with colourful aquariums – yes, aquariums – the space opens up and is split into several different sections. There are two different bar areas, one much more impressive than the other, whilst the décor is quirky throughout. From the graffitied walls and unusual chandeliers, to it's huge menus plastered with cartoon-drawn faces of pop culture icons such as John Lennon; it's quite the sensory feast. In addition to the interesting interior, full length windows show off a mesmerising Nile view. There are several seating options; high and low tables, as well as large, comfortable leather sofas await you. Our group was allocated a high table with high stools which unfortunately only lined one side, leaving half the party standing – although this did encourage dancing. The crowd seemed to be a mixture of both fashion-conscious youngsters and more mature patrons – the type who might frequent the hotel for business meetings and such. Throughout the evening, table service was swift and the nibbles – crunchy crisps and salted peanuts – were topped-up regularly. Free jelly shots were also passed around our group once we'd all arrived, before the menus were delivered quickly – though they proved a little difficult to read in the light, which was changing periodically from red to blue. The drinks menu is vast, as is their exotic-sounding bar food and sushi menu. The bar offers up all the usual and unusual cocktails, along with shots, spirits, wine and a selection of beers. Shared pitchers are also available for 250LE. There is only a small selection of non-alcoholic cocktails – or mocktails if you will – and sodas, although ordering a normal cocktail minus the alcohol isn't be a problem.   On the occasional visit to the bar, we didn't have to wait long to be served, although the bar staff seemed a little confused when giving prices off the top of their heads. We ordered a piña colada (75LE), a margherita (75LE), a glass of Omar Khayyam and Cape Bay white wine (55LE/each), several tequila shots (70LE/each) and multiple Sakara Gold beers (35LE). The white wine and beers were served cold, as they should, while the tequilas came with the mandatory salt and lime pieces. The piña colada was deliciously sweet and creamy with a subtle aftertaste of rum. The margherita was also mixed well, with the alcoholic kick blending in with the lemon flavour; however, the thick salt rim around the glass was too much and enough to make our eyes water.   Early in the evening, the music choice was far more chilled than we had anticipated, but began warming up before the main attraction during our visit, Vio Cello. The female Lebanese trio is made up of two extremely talented electric violinists and a cellist, which drew in a crowd of mature men – which made us question what crowd the bar is aiming for. In between their fast paced performances, the DJ took over with up-to-date commercial tracks which most of the younger crowd seemed to enjoy. Like the eclectic decor, however, the overall atmosphere seemed to be one of confusion.  We commend the efforts in originality of Graffiti, and this, coupled with well-mixed cocktails and fabulous service, could well land this bar in a competitive spot for cliquey Cairo crowds.

Most of Cairo's art galleries are tucked away in the shady streets of Zamalek, taking sanctuary on the quieter side of town to examine the delicacies of Cairo's visual art scene. Mashrabia Gallery, on the other hand, sits just off from the Egyptian Museum in Downtown. This month, the gallery has taken another step closer into the darkest depths of the city centre with new exhibition, 'Journey Around my Living Room' by Hala Elkoussy, which takes a camera lens to the gritty intricacies of Downtown. The exhibition's creation in the spring of 2012 was an attempt to draw the world's eyes away from the abrasive images of this city in the media, and refocus attention on the overlooked nooks of calm. Entering the exhibition, visitors will find a wardrobe with its three thick wooden doors left ajar, as if it's just been ransacked and abandoned in a flustered hurry. Peeking inside the doors, we found a jumble of forgotten junk; stacks of newspapers, hand-written notes and sepia photos are the most discernable. This introduction to the exhibition serves to remind viewers that they are entering a personal and subjective interpretation of a city and a home. On Elkoussy's journeys around Downtown as a street photographer, the artist attempted to capture the area in all its ramshackle glory; although the objects pictured are often broken, they retain dignity and beauty in their serene composition. Anyone who is even a little bit familiar with the intricacies of Egyptian culture will recognise the images displayed, as most depict common domestic imagery found throughout Egypt, such as abandoned chairs, the patterned oilcloth of street café tables and stray dogs. There are also a few shots that pay homage to hidden gems of the city such as its embattled plant life or detailed embellishments on a chair frame, all signifying the dusty beauty of the area. All the objects have an antique, almost sepia hue to them, which represents Downtown perfectly. The show makes no mention of popular spots, the booming nightlife or the many cafés that have undeniably become part of the city. The artist instead presents a version of Downtown through sentimental remembrance, eternalised in a shabby-chic faded memory; one that cannot comprehend its current modernity. In another city, this show would pit a powerful punch to those of us prone to nostalgia, but in the very city it represents, it's a refreshing readjustment of our perception of Downtown. The exhibition reminds us that we sometimes need a different perspective to fully appreciate the city in which we live. The crux of this exhibition is its ability to put down on paper the parts of Downtown which we catch in the corner of our eye, but don't focus on amid the clatter of human life, traffic and a revolution. Cairo is near impossible to distil into a frozen image, but the attempts to do so here remind us to take a step back, and apply a keener eye to what lies below the overt commotion.

A trip to the Sofitel Cairo El Gezirah is an experience in itself; the tube-shaped structure stands as a figurehead on the southern-most tip of Zamalek. There are plenty of reasons to attend, even if you're not staying the night; an afternoon lounging by the pool or an evening of wining and dining at Nile-side restaurants, Le Deck, El Kababgy or La Palmeraie, provide great opportunities to view Cairo at its best. Another good reason to go is the hotel's hair salon. The salon is open every day between 9AM and 9PM, even during national holidays. The coiffeur is on the hotel's second floor and has signs throughout the hotel. We rang ahead to book, but were told that an appointment would not be necessary and to come whenever we liked. When we arrived, the salon was empty, though the place was well staffed; this is not unusual for the salon, meaning that if you're in a rush – or it's a national holiday – you can rely on the Sofitel for unwavering service. The salon is clean and neat, without any ostentatious displays of girliness or posters of grimacing models – this is a place befitting of the Sofitel name. We were greeted at the till and told to immediately take a seat in the hair-washing chair. The salon has room for four-to-five clients to be seen at a time, and although it's only a small space, it's well laid-out and doesn't feel cramped. The attendant took her time with washing our hair, giving it a good amount of time to soak and even giving us a soothing head massage in the process. The products used smelt delicious and we can now confirm that our hair felt soft and clean for days after the visit. After our hair was professionally wrapped and brushed, the stylist came out to meet us and consult us on what we wanted. He nodded in assurance at our instructions and sure enough, after much snipping and measuring, came up with the desired result and was happy to make any adjustments we asked for. After the hair was cut, so began the styling process, which involved at a blow dry, followed by some a heavy-handed application with straighteners. To our dismay, the stylist curled our hair into tight ringlets so that the cut itself was completely overshadowed - although to his credit, the curls were very professional and stayed in place for the entire day. A wash and blow-dry cost 250LE, and the salon is also equipped to do dyes, extensions and offers a selection of products for customers to use at home. We were truly pleased with the results of our styling and the swift, professional service, which made a Sunday afternoon maybe-I-should-get-a-fringe whim, a reality.

Every now and then, a film comes along and leaves one completely spellbound and utterly speechless long after the end-credits roll. The Place Beyond the Pines is one such example.   Told in chapters, the story opens with the introduction of Luke Glanton (Gosling); a young motorcycle stunt driver working for a travelling carnival. During one of their stops in New York, he bumps into Ramona (Mendes); a girl with whom he'd had a one-night stand with during a previous rendezvous.  He soon learns that he is the father of Ramona's son, and despite the fact that she is now sharing a life with a boyfriend, Luke is determined to do his part and find a way to provide and care for them. He quits the carnival and befriends low-end mechanic, Robin (Mendelsohn), who convinces Luke that his stunt-riding skills might come in handy in pulling bank robberies. The decision to venture into the world of crime ultimately puts Luke on the radar of Avery Cross (Cooper); a young police officer, and new father, whose story is focused on in the second chapter.  As the two men cross paths, their split-second decisions result in a life-altering moment that will not only have an impact on them, but on generations to come. Director Derek Cianfrance –  who had previously worked with Gosling in heavy 2010 indie drama, Blue Valentine – steps up to a much bigger canvas this time and still manages to deliver another incredibly stirring work of art.  His carefully drawn world is compelling and unpredictable, and the unnerving and deeply moving score from composer, Mike Patton, only adds to the sense of dread that runs underneath the story's surface the whole way through.  The consequences of one's decisions is the primary theme in this grand narrative and Cianfrance – with the penning support of Ben Coccio and Darius Marder – tells it in a way that feels natural and organic. The Place Beyond the Pines has already been tipped for Oscar success, partly due to the fact that Cianfrance has managed to draw out some of the best performances of the year.  Gosling – whose previous collaboration with the director proved to be some of his best work to date – is once again effortless, charismatic and utterly captivating. As a man who desperately wants to do the right thing, Gosling evokes an incredible amount of sympathy to his character, while Cooper – who is slowly making his way to Hollywood elite status – delivers another magnetic performance. Even Mendes, in the role of a torn and distraught single mother, is confident, poised and manages to hold her own throughout.  Transfixing and poetic, The Place Beyond the Pines is truly one of a kind.  Viewers shouldn't be detered by its two-hour-plus running time; great stories like these take time to develop into epics and this is worth every minute. 

Deerhunter's sixth studio album, Monomania, is going to be an extremely challenging album for the band's newer fans who were swept up in the ambient punk sound of their previous two releases: 2010's Halcyon Digest and 2008's double release Microcastle/Weird Era Cont. Right off the bat, it is clear that Bradford Cox and company are declaring war on indie culture and the band's associations with the 'chillwave' movement. It might seem a little hastily reactive, but for fans that have been following Deerhunter since their 2005 debut Turn It Up Faggot, Monomania is Deerhunter's inevitable magnum opus. This is Deerhunter's In Utero; a reminder to the public that they are a punk band at heart. On Monomania, Cox's increasingly conflicted relationship between his obsession with making music alone and his status as an iconic 'indie hero' is brought to the forefront – add to that his lifelong battle with Marfan's syndrome of which he is now overly aware will soon kill him. Though Deerhunter songs previously sounded more like a band effort, it appears that Cox is becoming the inevitable face and leader of the Deerhunter tribe as his personality and convictions are now at the forefront of Monomania where he wails and screams into your head through a low fidelity microphone on every track. When Deerhunter debuted the title track off of the album on Late Night with Jimmy Fallon in early April, internet blogs went ballistic as Cox sported a wig, dress and looked like his fingers were cut off while he wailed "IN MY HEAD THERE IS SOMETHING ROTTING DEAD!.. LET ME BE RELEASED FROM THIS! MONO MONOMANIA!!" incessantly, over and over again. This was the world's introduction to 'Connie Lungpin'; Cox's reactionary, indie-hating alter ego. In 2013, an album like Monomania and a figure like Lungpin are needed more than ever. As hipster/indie culture becomes this massive bubble of preconceptions, nothingness and indifference, Monomania is like a massive scalpel hacking away at the faint-hearted, seeing who will stick around when hipster blood is sprayed all over the walls of the 'Indie Empire'. Take the album's second track, 'Leather Jacket pt. II' - the name itself is a tribute to rock & roll and punk. The solo of this song, blasted at full volume, is evidence enough that Deerhunter lives on a different plane entirely to the buttoned up C86 cassette sounding indie scene that has taken over in the past two years. However, the album is not entirely inaccessible; the middle section features tracks such as 'Dream Captain', 'Blue Agent', 'T.H.M' and 'Sleepwalking', all of which should appeal to both new and old fans. 'Blue Agent' is a catchy but cunning and sardonic ballad that explores the idea of policing your own species, and 'T.H.M' is a fresh take on greenhouse gases where Cox celebrates – or tries to – how he is personally coughing and dying from asthma. 'Dream Captain' and 'Sleepwalking', two of the best songs on the album, are also in line with common themes on Monomania; the feelings of being letdown by your dreams, the death of the rockstar and rock & roll, as well as the conflicting dilemma and impulses that compel Cox to obsessively record and release hundreds upon hundreds of songs. Cox's lyrics on Monomania are also generally far stronger and at the forefront, rather than buried in reverbed haze. Monomania represents everything brilliant about rock & roll: from the proto days with Robert Johnson's mythology, to 50s Doo Wop and milkshake rock & roll, to 70s punk; the iconic nature of vinyl, the beauty of storytelling and self expression in song, as well as an acute awareness that in 2013, the art of rock & roll is under serious threat of extinction. For those sick of the status quo, both mainstream and indie, Monomania is a diamond in a goat's ass.