MUMBAI: When Indian actress Divya Unny flew into the southern state of Kerala in 2015, she thought it was for a business meeting with an award-winning director about a role in his upcoming film.
Instead, she was called to the director’s hotel room at 9 pm, where the man propositioned her for sex and told her she would have to make compromises if she wanted to succeed in the film industry.
“You always hear of actresses getting called by directors to hotel rooms at night, but I didn’t think twice because I was going in with a reference,” she told Reuters.
Unny said she rejected the advances of the director, whom she declined to name, and left without a role in the movie. Reuters was unable to confirm her accusations.
Three other women involved in India’s film industry, the world’s largest, told Reuters that Unny’s experience isn’t unique. But even after allegations of sexual assault and harassment levelled at Hollywood producer Harvey Weinstein prompted a wave of similar complaints, Bollywood has been reluctant to name and shame perpetrators.
“The way men are being called out in Hollywood right now, I don’t know if it can happen in India,” said Alankrita Shrivastava, a director whose last film, “Lipstick Under my Burkha” was acclaimed for its examination of women and sexuality.
“In terms of how our psychology is, how patriarchy functions, it is much more entrenched,” she said.
The vast majority of Bollywood’s biggest producers and film-makers are men, many from prominent film families who until recently controlled most of the industry.
Mukesh Bhatt, who co-heads production house Vishesh Films, said India’s film industry should not be singled out and was limited in what more it could do to prevent harassment.
“What can we do? We cannot do any moral policing,” Bhatt, told Reuters in a telephone interview. “We cannot keep moral cops outside every film office to see that no girl is being exploited.”
The industry also had to be cautious about false allegations, said Bhatt, who was previously the chairman of apex industry body, the Film and Television Producers Guild of India.
“I am not saying men have not been exploitative. They have been for centuries. But today’s woman is also not as simple as she pretends to be,” he said. “But just as there are good men and bad men, so also there are women who are exploitative and very cunning. Also blatantly shameless to offer themselves.” He declined to provide any examples.
Despite laws requiring Indian companies to form internal committees to investigate sexual harassment at the workplace, very few of cases are reported to the police, said women’s rights activist and lawyer, Flavia Agnes.
“They (companies) may have a committee or they may not have one. They may do an investigation or they may not do one. And they may or may not file a complaint. It could go wrong at every stage,” she said.
Reports of sexual assault, while rare, are not unheard of in India’s film industry.
Earlier this year, Gopalakrishnan Padmanabhan Pillai, a popular actor in the Malayalam film industry best known by his stage name Dileep, was arrested by police who accused him and several others of kidnapping and molesting an actress. Dileep denies the accusations.
“He says it is a completely false case. He was framed by the police and some enemies,” B Raman Pillai, a lawyer for Dileep, told Reuters.
Fans cheered and distributed sweets as he walked out on bail last month after more than 80 days in prison. The police haven’t filed formal charges in court, after which a date for the trial would be set.
“We will file a charge sheet in the next two weeks. Maybe next week,” Biju Paulose, an inspector of police in charge of the case, told Reuters by phone.
Kangana Ranaut is one of the few Bollywood actresses who has publicly spoken out about the sexual assault and harassment. Ranaut, who has appeared in 30 films in the past decade, told Reuters she had faced “severe sexual exploitation and harassment at the work place,” without elaborating.
“I’ve read some stories (about harassment) shared by few prominent people, but most people find it hard to open up about such experiences,” she said. “Victim shaming is very common in our society, it’s done brutally and openly.”
According to a survey conducted by The Indian National Bar Association this year, around 70 percent of Indian women said they would not report sexual harassment at the workplace because they weren’t confident about the complaint mechanism and because of the stigma attached to victims.
Shrivastava, the director, said the kind of cinema Bollywood often produces demonstrates its attitude toward sexual harassment and assault.
For example, two of this year’s hit movies — “Toilet – Ek Prem Katha” and “Badrinath Ki Dulhaniya” — showed the hero stalking the leading lady, taking pictures of her without her knowledge.
“For decades, we have created cinema where harassment is depicted as love,” Shrivastava said. “And that reflects the mentality of the creators – that they keep portraying it, and excusing it in the name of commerce.”
In the wake of Weinstein scandal, some women say Bollywood failing to address harassment
In the wake of Weinstein scandal, some women say Bollywood failing to address harassment
‘Theater Tour’ initiative celebrates local culture across Saudi Arabia
- Award-winning play ‘Bahr’ debuts in Baha, with performances in Jubail, Dammam, Al-Ahsa to follow
- New project boosts local theater, community engagement and cultural awareness nationwide
RIYADH: Saudi Arabia’s Theater and Performing Arts Commission launched the “Theater Tour” initiative on Thursday to bring exceptional theatrical performances to cities, governorates and villages across the Kingdom.
The project aims to promote the cultural and performing arts scene while encouraging community engagement, the Saudi Press Agency reported.
The first phase begins with the play “Bahr” (Sea), running from April 3 to May 3, the SPA added.
The production will debut in Baha from April 3-5 at the Prince Sultan bin Abdulaziz Theater in the Cultural Center, before moving to Jubail from April 17-19 at the Royal Commission’s Conference Hall in Al-Fanateer.
It will then continue in Dammam from April 24-26 at the Imam Abdulrahman bin Faisal University Theater, and conclude in Al-Ahsa from May 1-3 at the Society for Culture and Arts’ Theater.
The project is part of the commission’s broader efforts to raise awareness of the theater and performing arts sector, while ensuring that cultural services are accessible in underserved areas and to marginalized communities, according to the SPA.
It also aims to support local theater groups, boost theatrical production and strengthen the cultural sector’s contribution to the national gross domestic product.
Additionally, the initiative fosters investment opportunities and serves as a platform for discovering and nurturing emerging talent, the SPA reported.
The play “Bahr,” written by Abdulrahman Al-Marikhi and directed by Sultan Al-Nawa, has received critical acclaim, winning several prestigious awards, including for best actor, best script, and best overall production at the inaugural Riyadh Theater Festival, as well as best musical effects and best director at the 19th Gulf Theater Festival.
Art Week Riyadh: A ‘constellation of events’ that ‘pushes the boundaries’
- Curatorial team discuss the aims and intentions behind inaugural edition of AWR
RIYADH: The inaugural Art Week Riyadh begins April 6 in the Kingdom’s capital. A non-commercial initiative, AWR builds on the city’s already thriving art community while inviting international artists and art lovers to join in.
Princess Adwaa bint Yazeed bin Abdullah, head of Art Week Riyadh, explained the event’s inspirations and goals in a statement, writing: “Art Week Riyadh is born from a belief in the power of art to inspire, challenge, and connect us. Riyadh has long been a city of growth, and through this platform we hope to contribute to its cultural future — one that is open, dynamic and deeply rooted in both heritage and innovation.”
Curator Vittoria Mataresse heads a team including associate curators Basma Harasani and Victoria Gandit-Lelandais and public program curator Shumon Basar who have worked tirelessly across multiple time zones over several months to bring the event to life.
“It was very important for us to be playful and not have the kind of rigid structure or format we’re used to seeing. Art Week Riyadh sits in between an exhibition and an art fair. It’s really a constellation of events,” Matarrese tells Arab News. “Unlike major art events that often impose universal themes and rely on globally established artists, we wanted to work within the frame of a regional art ecosystem, embracing the textures, the urgencies, the sensibilities of the Arabian Peninsula. We are trying to retrace something which is very specific and, in this way, we propose a critical departure (from the normal) format.”
The theme of AWR’s inaugural edition is “At the Edge” and the event brings together more than 45 galleries from the Kingdom, the wider Arab world, and beyond. There are three main sub-themes: “Everyday Life,” “Landscapes,” and “Motifs.”
JAX District in Diriyah will host three major exhibitions offering an expansive insight into Saudi Arabia’s cultural identity. A number of established Saudi artists whose studios are based in JAX will also be opening their doors to the public. Meanwhile, in central Riyadh, more than 15 galleries housed in the Al-Mousa Center will present exhibitions, and a wider program across the city will feature several talks and collaborations.
Gandit-Lelandais, who has worked in the region for more than two decades focusing on contemporary Arab art, tells Arab News: “Art Week Riyadh really is different, because the market and the ecosystem is different. I think it’s about making people stop implementing the European and American formats into different places because they don’t have to fit — the format can be adapted.”
The team have designed the event as “an umbrella for everyone to gather under,” Gandit-Lelandais says. “It is inclusive and it’s meant to be niche — it is for the public, and for the art enthusiasts and for the collectors.
“With Riyadh growing so fast, the kind of dialogues that we have built are so important to bring people here, but not with a Western look at how art should be,” she adds.
Harasani, the lone Saudi in the curatorial team, tells Arab News: “I’m really excited to link our local artists and our local scene (with the world). I think an educational foundation is super-exciting and super-necessary at this time for artists, art practitioners, young collectors and everyone that comes under that umbrella. We wanted to allow these generations of artists from Saudi Arabia to narrate themselves, beyond the usual framework.”
While none of the curators live in Riyadh, they all offer a nuanced and sensitive take on the capital.
“I’ve been working in Riyadh so much that it does feel like a second home,” Harasani says. “Riyadh is culturally different from Jeddah, where I’m from, and it was interesting to delve into the art scene. I thought it would be similar to the Hajazi scene, but it’s completely different. It was a massive learning experience for me to see that — given that we’re all from Saudi — there are so many different ways of working, ways of producing, ways of communicating.”
Riyadh’s rapid expansion, both physically and culturally, over the past decade contributes to the richness and diversity on show at AWR, the curators say.
“That’s the beauty of the Middle East, 10 years here is 100 years elsewhere,” Matarrese says. “I think what’s really smart about what Saudi is doing right now is they’ve learned from other people’s mistakes and they’re looking at how to navigate this in a better way.
“There’s one thing that is important in the DNA of what we are doing,” she continues. “Our visitors are not going to know what to expect. We really pushed the boundaries of what this could be showing; we are trying to deconstruct the conventional display models, to experiment with something else and re-articulate the dialogue between the different parts of the art world.”
For Harasani, the event is another marker of the artistic progress that has been made in the Kingdom in recent years.
“This did not exist when I was growing up,” she says. “The fact that we can see our dreams come to fruition now — and (see) bigger projects like Art Week Riyadh — I feel very lucky and privileged to be a part of that.”
REVIEW: Seth Rogen sends up Hollywood in ‘The Studio’
- Apple’s star-studded new comedy takes aim at the movie business
LONDON: At a time when the movie industry is constantly being forced to pivot and evolve to counter the influence of streaming networks, it’s something of a surprise to see a show come out about the inner workings of the Hollywood machine — and even more of a shock that said show is being made by one of the aforementioned streamers.
But then, perhaps that’s why “The Studio” works so well. Apple TV’s new satirical comedy stars Seth Rogen as Matt Remick, the newly appointed head of a major Hollywood studio who wants, above all else, to return the production house to its halcyon days of making amazing movies. Trouble is, he’s also got a boss who cares only about making money, a former boss who blames him for taking her job, a roster of actors and directors all wanting to manipulate him, and a team around him who each seem to embody the very worst Tinseltown stereotypes.
So even though “The Studio” is a TV show about the movie business, it still manages to skewer both industries. At every turn, Matt is confronted by the inherent silliness of the movie business, and we get to watch it in a series of episodic, bingeable installments, each bursting with cameos and a satirical swipe at everything from celebrity culture to pretentious auteur filmmakers.
Rogen’s affable exec has to do the majority of the show’s heavy lifting, but the actor is more than up to it — his trademark calamitous buffoonery has perhaps never been better suited to a role. Among the extensive supporting cast, Bryan Cranston and Kathryn Hahn stand out, but everything is pretty much pitch perfect, from the whipsmart cameos to some carefully choreographed, good ol’ fashioned slapstick humor.
There are enough industry deep-dive references to appease ardent movie buffs and enough zip about the episodes (two of which are available at launch) to keep casual viewers entertained. That, coupled with the depth of Apple’s production pockets in pulling in those cameos — Martin Scorsese, Charlize Theron, Steve Buscemi, Paul Dano and Peter Berg for the first episode alone — means “The Studio” has something for everyone. Here’s hoping for a sequel or three.
Saudi model Roz on her homecoming: ‘It feels emotional in the best way’
- The Saudi model recently returned to the Kingdom for the first time in years
DUBAI: Roz — famed for being the first Saudi female model to work internationally, and for recently starring in the reality show “Dubai Bling” — has returned to Saudi Arabia after a decade abroad, marking a pivotal moment in her career and personal journey.
Roz shot to fame in 2019 when she modelled for a Victoria’s Secret’s Pink campaign.
She had moved to the US in 2013 to pursue a degree in interior design, but her modelling soon took over. Her Instagram feed (she has more than 15 million followers) is littered with photographs of her various advertising campaigns, as well as visits to many a product launch party — from NYX Cosmetics events to TikTok gatherings.
Roz’s homecoming reflects both her cultural pride and her desire to reconnect with her roots.
“It feels emotional in the best way,” she told Arab News. “I’m not moving back just yet, but I’ll be visiting more often to show the world how beautiful my country truly is. Being back on Saudi soil after so long brought back so many memories. There’s a deep sense of pride in seeing how much the country has evolved — and experiencing that change in person is really special.”
The model, who has been working on the international fashion circuit for years, says she has seen a remarkable transformation in the Kingdom’s fashion scene.
According to Roz, the country is now fostering a new generation of creatives who are pushing boundaries and embracing self-expression through fashion. This shift is not only inspiring but also deeply personal to Roz, who sees it as a celebration of identity that she had long hoped to see.
“The transformation is incredible,” she said. “There’s a whole new generation of creatives pushing boundaries and telling their own stories through fashion. What excites me most is seeing that self-expression is finally being celebrated, and I’m honored to witness it during my visit.”
One of the key motivations behind Roz’s visit was her desire to be part of the dynamic changes unfolding in the region, especially in fashion and entertainment.
“It’s my country, and I’ve always wanted to come back, but I was stuck in the US due to visa issues,” she said. “Once I finally sorted that out, I knew it was time to visit and reconnect. With everything happening in the region and how quickly things are progressing in fashion and entertainment, I wanted to be present, show support, and be part of this exciting moment in some way.”
Roz’s career journey to date has been far from easy, she said.
“There were so many (challenges). I faced judgment, stereotypes, and a lack of representation. But I kept going because I knew I was paving a path that didn’t exist yet,” she said. “Every step was about proving that a Saudi woman can take over the international stage and still stay true to who she is.”
Her role on “Dubai Bling” has also significantly impacted her celebrity status. “It definitely opened me up to a broader audience — people may have only seen me through fashion campaigns before. It also showed a more personal side, which helped people relate to me,” she said. “It came with more eyes, more opinions, but also more love and support than I ever imagined.”
Roz sees fashion as a form of self-expression, and embraces her roots as a strength that makes her style unique.
“To me, fashion is all about storytelling. I love merging global trends with elements of my identity, whether in how I carry myself or the brands I choose to represent. Staying true to my roots is never a limitation; it’s actually what makes my style stand out,” she said.
Roz is keeping her upcoming projects under wraps, but says her focus is on staying authentic and using her platform to inspire young Saudi women.
“I hope they see that there’s no mold they have to fit into. You can be proudly Saudi, proudly creative, and take up space in any industry,” she said. “I hope my journey shows what is possible, and that their stories deserve to be told on a global scale.”
New York Arab Festival returns with diverse lineup
- The New York-based dance music collective showcases beats from the Arab, Asian, and Pan-African diasporas
DUBAI: The fourth edition of the New York Arab Festival (NYAF) runs from April 1- May 30, with headlining acts including DJ duo Haza Party.
The New York-based dance music collective showcases beats from the Arab, Asian, and Pan-African diasporas. The festival will play host to a special version of the collective’s signature “Haza Souk” event, featuring a lineup of DJ sets, merchandise outlets and food.
On April 8, Palestinian poet Ahmad Almallah will present his latest book “Wrong Winds” while April 13 will see Palestinian rockstar, singer and songwriter Rasha Nahas perform at Brooklyn Art Haus.
A double bill dedicated to the centennial of dancer Samia Gamal will take place at the Jalopy Theatre on April 16, with New York based choreographers and dancers Angie Assal and Soumaya MaRose celebrating the history of the late Egyptian choreographer.
Meanwhile, the NYAF Arab Shorts Film Program at the Bartos Screening will feature the work of filmmakers including Alia Haju and Khaled Jarrar.
From May 1-4, NYAF will collaborate with experimental theater club La MaMa ETC for a “festival within a festival” celebrating Arab artists in four multidisciplinary “happenings” featuring spoken word performances based on texts by the late poets Etel Adnan and Joyce Mansour, dance, music and multimedia visuals. Performers include Andrew Riad, Nadia Khyrallah, Sarah Brahim, and Amr Kotb, among others.
On May 14, Lebanese American singer-songwriter H.Sinno’s “Poems of Consumption” — which turns Amazon customer reviews into pop songs — will be presented.
NYAF was established in 2022 to commemorate Arab American Heritage Month and “fight the erasure of Arab and Arab American identities from NYC, a place Arabs have called home for over three centuries,” the festival said in a released statement.
