CAIRO, Egypt — A motley group of foreigners — English teachers, students of Arabic, even a journalist — gathered on a recent chilly night in the Egyptian port city of Alexandria, brought together by a love of cinema, curiosity and a furtive hope of catching a glimpse of Omar Sharif.

Glamour, however, was in quite short supply for our band of film extras. Waiting around for hours in our 1940s period costumes, we slouched in the elegant wood paneled bar of a luxury hotel eating cold food from McDonald's, waiting to shoot a five-minute dining room scene. The lead actors had yet to even show up.

Still, it was a unique opportunity, one I had searched for off-and-on during the decade I have lived in Egypt — especially since this production is being touted as a rebirth of Egyptian cinema.

"The Passenger" has a cast full of Egyptian stars, topped by Sharif in a heralded comeback to Egyptian film after a 15-year absence. The movie has been billed by Culture Minister Farouk Hosni as a "return to the golden age of cinema."

The ministry itself is footing the bill for the film, the first time it has done so in 30 years, in an effort to boost the flagging reputation of what was known as the Hollywood of the Middle East.

Egypt has one of the region's oldest movie industries; 50 years ago, it was producing films on par with those of Hollywood. But in the past two decades, it has declined, throwing together slapdash comedies and over-the-top melodramas with poor production values.

"In the West, the film has a great position, and it used to be the same here in the 1940s and 1950s and then something happened, it became, I don't know why, a second-class economy," said Amr Waked, one of Egypt's up-and-coming actors, who also appears in "The Passenger." He is better known to international audiences as the Egyptian terror leader in George Clooney's 2006 film "Syriana."

Critics have blamed Egyptian cinema's decline on a host of factors. Rising Islamic conservatism made movies disreputable, while at the same time, the funding dried up leaving producers just trying to make a quick buck.

The Culture Ministry is hoping that by returning to its role of financing the cinema — the way it's done in many countries — it can produce quality features like "The Passenger."

The film is a multigenerational epic set in 1948, 1973 and 2001, and first-time director Ahmed Maher has spent a year and a half filming it.