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Several rumors have spread during the past period in the Egyptian artistic community revolving around the death of the Egyptian artist Nashwa Mostafa. Later, actress Nashwa Mostafa broke her silence and wrote on her page on the social networking site Facebook, saying:
“People who make a living off of rumours. I mean, one time there was a rumor that I had died, and another time there was a rumor that I had fought with a colleague and insulted her. So they arrested me because I insulted her and imprisoned me in the dangerous ward.”
Nashwa added that she was fed up with all these rumours, but who is Nashwa Mustafa? What are her most important artistic works? The answer is in this article.

Starting from the College of Commerce and then heading towards the world of art

Egyptian actress Nashwa Mostafa created a unique and indelible position in the Egyptian and Arab artistic scene, and was distinguished by her remarkable diversity. Perhaps the most prominent thing that distinguishes her is her wonderful sense of comedy, as well as her artistic career that spanned more than three decades, in a very rich time journey that included the bustling world of television drama, the bright lights of cinema, and the spontaneous spirit of theatre.
Nashwa Mustafa was born in Cairo on October 16, 1968. She graduated from the Faculty of Commerce, Department of Accounting, but she did not find herself in this field, so she obtained a degree from the Higher Institute of Dramatic Arts, and here she officially began her path in the world of art.

First appearance on the small screen

The first appearance of Egyptian artist Nashwa Mostafa on the small screen was in 1990 through the famous comedy series “Professor Shalash’s Family,” where she played the role of Enas. This early role immediately demonstrated her innate comedic talent, and during that period Nashwa continued to establish her presence in television drama with very distinctive roles that won critical acclaim, such as her role in the series “The Conscience of the Teacher Hikmat” (1991), “Layali Al-Helmeya” (fourth and fifth seasons), and “Zezinia” (1997).
It can be said that these roles allowed Nashwa to develop a vibrant and spontaneous artistic personality on screen, something that would later become a distinctive feature of her.

Rising to stardom and cinematic success

The artist Nashwa Mustafa participated in a large number of cinematic works of art, and played roles that remained stuck in the minds of the masses, especially when she played the role of the dancer in the movie “Al-Lumbi”, and to this day her scenes still reappear from time to time.
Nashwa also participated in the movie “Africano” alongside Ahmed El Sakka and Ahmed Eid, as well as in the movie “Dreams of the Reckless Boy.” One of Nashwa Mostafa’s most memorable roles is her role in the iconic Egyptian series “My Aunt Safia and the Monastery.” Although the series was tragic and presented an epic and impossible love story, Nashwa played a brilliant comedic role in this work.

Diversity, maturity and a return to the roots

As her career matured, Mustafa expressed a desire to explore different aspects of her talent and venture into new forms and roles, while maintaining her television presence. During this period, she participated in the series “His Excellency,” and in 2018 she returned to the theater as a producer through the play “Selfie with Death,” demonstrating her commitment to theatrical production and her endeavor to develop her artistic contribution beyond acting.
It is noteworthy that Nashwa Mustafa’s last participation in television works was through the series “Sayyid Al-Nas,” which was shown during the Ramadan drama season during the year 2025, and which tells the story of the hero Jarhi, whose life turns upside down after the death of his father.

The death of Nashwa Mustafa’s husband

It can be said that Nashwa Mustafa recently faced a difficult challenge, which is the death of her husband, for whom she had all the affection, love and respect. In her first appearance after her death, Nashwa confirmed that she returned to work not for love of acting or artistic career, but because she had many obligations that she must fulfill.