DUBAI: Tunisian actor Hend Sabry burst onto the Arab film scene in 1994 and since then, she has established herself as a star, garnering hits across film and television. Taking time away from her many projects in Egypt and her work as a global ambassador for the United Nations World Food Program, Sabry joined the jury for the sixth IWC Filmmaker Award at the 14th annual Dubai International Film Festival.
This year, the shortlist featured talent from across the GCC, including Saudi Arabia’s first female filmmaker Haifaa Al-Mansour, Emirati director Nayla Al-KHajja, Bahraini filmmaker Mohammed Rashed Buali and Omani filmmaker Munza Almusafer. Sabry found the selection as a whole to be a great step forward for GCC filmmaking.
“I noticed actually while reading the scripts that there’s a lot of maturity,” Sabry said to Arab News. “I think now that GCC directors and writers are reaching a maturity in their writing.”
Three of the filmmakers chosen were women, the significance of which Sabry noted.
“I also noticed, while it’s not new, the dominance of women in the field of cinema in the GCC, which is absolutely mesmerizing. It’s a beautiful thing to witness. There’s so many women involved in writing and directing in the GCC and it’s a lesson of empowerment, and a lesson to people who do not know exactly the condition for women in the GCC. It’s a very reassuring thing.”
While Al-Mansour was ultimately named the winner, Sabry sees a great future for each nominee.
“There’s no winners. It’s cinema at the end of the day, it’s art. It’s a lot more about timing, originality, a very unique angle, point of view and sometimes character. Sometimes it’s a unique perspective about a very common story. A lot of it is timing, and a lot of it is individual sensibility from the jury. All four of these are mature scripts. All four are viable in terms of production and I think all will see the light, whether they’re winners or not.”
Each of the stories were a revealing window into the Gulf region, according to Sabry.
“The storytelling and the characters in the four scripts are all portraying the Middle East as we see them today. They are all portraying a world that is very mysterious, and we’re all looking to reveal this region in an artistic way.”
While the filmmakers do portray the challenges that many face in the region with honesty, they do so with a sense of pride.
“We’re in a region where we always have gender issues and that’s very present in the scripts. But there are no judgments. Every one of these contestants is very proud of their origins and they’re not directing or writing a movie to please a crowd or an audience that just wants to see boundaries pushed. They’re being very genuine and sincere about where they’re living on a day-to-day basis.”
The Dubai International Film Festival a whole is an essential part of the GCC’s cinema landscape, according to Sabry.
”It’s one of the leading film festivals in the region, especially because … (of) the Dubai Film Connection, where every year there are so many projects that are being showcased and end up being the best projects in production the year after in the Arab world. It is a very important networking place. A lot of funders and investors come here, including people who are interested in partnering with young and upcoming Arab directors. It’s a dynamic place and that is rare. “
Arab cinema in general is reaching new heights on a global scale, with directors such as Hany Abu-Assad directing major Hollywood films with some of the world’s biggest stars. But Arab cinema’s heights go beyond just that.
“Assad directing a huge Hollywood blockbuster is very important, but it is a combination of many things. Every year we have very viable, valid movies that are representing the region at the Oscars, even if they don’t make it to the final shortlist. ‘Theeb’ (2014) was a very important film, one of the most beautiful movies that this region has produced. Now there are Arab directors going a bit beyond the local market to explore collaboration. This is what we need — more mingling with other regions in the world in terms of co-production, distribution, or both if you’re very lucky.”
Sabry herself wants to work outside of her adopted home of Egypt more often, especially with new styles and talent popping up across the region every year.
“I’m lucky to be witnessing a transition in how writers and directors in the region are developing their projects. They are leaning toward more unique stories with unique angles and characters that are striking yet common, which I like. Ten years ago, directors were very into big films, now everything is much more intimate. I’m looking into that.
“I really want to make a movie with a character that is unique yet common with a young director, as I really believe in this new wave of young Arab directors from across the region. I want to have a more pan-Arab CV. I want to start that adventure in markets other than Egypt while still being in Egypt, where I achieved great success and am happy to be.”
Tunisian star Hend Sabry expects a bright future for Gulf filmmaking
Tunisian star Hend Sabry expects a bright future for Gulf filmmaking
Qatar exhibition explores relationship between AI and humanity
DOHA: The Media Majlis Museum at Northwestern University in Qatar launched “Ai or Nay? Artificial vs. Intelligent,” a thought-provoking exhibition exploring humanity’s evolving relationship with machine learning.
Running until May 15, the exhibition brings together over 20 works by international and regional artists.
Directed by Alfredo Cramerotti, the exhibition emphasizes interdisciplinary dialogue, he said. “For me, it’s important as a curator to combine arts with something else and have a foot in art and a foot in something like technology or media,” Cramerotti told Arab News.
“We’re embedded in an environment of communication, technology, and media and (in this exhibition) we bring in artistic elements… to tackle themes that are relevant for society now.”
On display are installations from international creatives such as Jan Zuiderveld (Netherlands), Patrick Tresset (France/Belgium), and Adnan Ayub Aga (UAE/Portugal), alongside interactive and visual works by Amr Alngmah (Yemen/Egypt), Farjana Salahuddin (Bangladesh), graphic designer Hind Al-Saad (Qatar), Hadeer Omar (Egypt) and Bilge Emir (Turkey/Germany).
“We thought, let’s bring in in different voices — from the region and internationally, from different sectors of society and cultures — to help us understand the different pinch points of AI to make the general public more aware of certain issues,” explained Cramerotti.
The exhibition also addresses the tension between digital and physical experiences, he added: “This hybridity is central to the show. It’s about being aware of how AI and information flows shape our identities and impact our lives.”
As an example, Cramerotti highlighted the work of Al-Saad and Omar, which features screen walls offering a glimpse into how AI works in our everyday lives.
“The idea of how computers see us is actually quite central, but it’s completely invisible — like facial recognition,” he said. “It is integrated in your life flow. You don’t notice it. But there is an incredible amount of ‘bio-politics’ behind it.”
Italian sculptress Ariana Palmieri contemplates world’s cyclicity at Tuwaiq Sculpture
RIYADH: With the theme “Then and Now: Joy in the Struggle of Making,” the sixth edition of the Tuwaiq Sculpture symposium has brought together 30 sculpture artists from around the world.
Among them is Italian artist Ariana Palmieri, whose piece “Motion of Revolution” was inspired by the movement of the solar system around the sun. Depicting the inevitable cycles of birth and death, the work contemplates the notion that birth is conditioned by assured fatality.
“It’s all about the circularity of life — you are born, you are a child, then you are an adolescent, then you grow older, and then you die. But your life will continue after this, and we give life to other things. So it’s more about how everything is connected and a circularity of life; as humans move within the planets, the planets are moving around the sun,” Palmieri told Arab News.
Originally from Milan, Palmieri moved to Carrara, a town known worldwide for its white marble, to study sculpting. She graduated in 2023 and the 26-year-old is one of the youngest artists amongst the group at the symposium.
She says it is an opportunity to learn and grow as an artist.
“It’s like a dream. I didn't think they would choose me because I am so young,” she said. “The last edition was more about people that had experience. This edition, they tried to concentrate more (on) the artwork and the background of the artist,” she said.
The finished works will be exhibited from Feb. 12-24 and moved to various locations across the city as part of Riyadh Art’s initiative to beautify the capital.
“Public art is the main thing that our sculptures can achieve because you can do big stuff and they will be like a journal in some way. I’m really, really happy that I can do something so big that will stay there so much longer than me,” she said.
Palmieri’s work is not merely a reflection of planetary movement but contemplates the existence of the human race and its role within a larger picture. Her work itself is a representation of this thought: As every human diminishes, remnants of them and their work on earth will be set in stone — waiting to be discovered by another.
“I thought about nature a lot, and all of humanity. I hope at least that my art can get through this idea, to connect all the people,” she said.
Ian McDiarmid, Hideo Ishikawa to headline Middle East Film & Comic Con 2025
DUBAI: Scottish actor and director Ian McDiarmid, known for his portrayal of Emperor Palpatine in the “Star Wars” saga, has been announced as the first confirmed celebrity guest for the Middle East Film & Comic Con (MEFCC) 2025.
The region’s largest pop culture event will take place from April 18 to 20, 2025, at the Abu Dhabi National Exhibition Centre (ADNEC).
In addition to his role as the “Star Wars” saga, McDiarmid is also known for his performances in films such as “Sleepy Hollow” and “Dirty Rotten Scoundrels,” as well as his extensive work in theater, including his Olivier Award-winning role in “Faith Healer.”
Anime fans are also in for a treat with the announcement of Japan’s leading voice actor, Hideo Ishikawa, best known as the voice of Itachi Uchiha from “Naruto.”
His notable roles include Toyotomi Hideyoshi in “Samurai Warriors,” Kyo-ya Onizuka in “Aesthetica of a Rogue Hero,” Ray Penber and Hideki Ide in “Death Note,” and Squall Leonhart, Auron, and Cait Sith in the “Final Fantasy” series.
Loy Pinheiro, show director of MEFCC said in a statement: “MEFCC 2025 is set to be our most diverse and engaging event yet. From casual fans to devoted collectors, we’ve created an experience that celebrates every aspect of pop culture with something for everyone.”
The event is organized in partnership with the Department of Culture and Tourism in Abu Dhabi.
Review: ‘Unstoppable’ is a predictable, feel-good outing
- Story of Anthony Robles, championship-winning wrestler born with one leg, makes for a satisfying biopic
LONDON: It is easy to forget that, sometimes, all you want from a movie is a healthy dose of good vibes — and few genres are better suited to that than the sports biopic.
The film “Unstoppable” tells the real-life story of Anthony Robles, an American wrestler who won the 125-pound (57 kg) US National college wrestling championship in 2011 despite being born with one leg.
Directed by William Goldenberg (a storied screenwriter and editor, making his directorial debut here), “Unstoppable” stars Jharrel Jerome (“Moonlight,” “When They See Us”) as Robles, with Jennifer Lopez as his mother Judy and Bobby Cannavale as his stepfather Rick.
Already a talented high-school wrestler, Robles misses out on his dream college scholarship, but opts instead to pay to attend Arizona State University and win a place on their feted wrestling team.
Despite dealing with Rick’s abusive behavior at home, Robles continues to win over his teammates. And, backed by his mom’s unending belief, and that of his high-school coach (played by Michael Pena), he proves himself not only worthy of his spot, but an athlete capable of performing on the national stage.
Here is the thing with sports movies (or the good ones, at least), you have to really lean into every single cliche and embrace all the heartstring-plucking tropes. Because, if you do — and if the film has a decent cast doing an earnest job — the payoff is worth it.
And so it is with “Unstoppable,” a movie that is as determined as its real-world protagonist. Sure, there are a few story beats that get teased and then dropped. Sure, the by-the-numbers buildup to the climactic showdown is beyond predictable.
But this movie has a stellar lead performance from Jerome (helped by absolutely seamless effects and stunt work, which sees Robles himself performing some of the wrestling sequences), and an immensely talented supporting cast.
Lopez, Cannavale and Pena are all great, but Don Cheadle also deserves his share of the plaudits for his turn as Robles’ college coach and mentor.
Is this the most sophisticated exploration of the world of collegiate wrestling? Nah. But is it a heartwarmingly decent movie that will make you feel good? Absolutely.
A celebration of Saudi Arabia’s artisanal heritage
- The Ministry of Culture has designated 2025 as The Year of Handicrafts. Here, Arab News highlights some of the Kingdom’s most significant traditional crafts
Al-Khous
While palm trees are famed for providing dates, which play such a significant role in traditional Khaleeji hospitality, the plants themselves are equally important in Arabic heritage. The tree trunks and leaves were commonly used to create temporary or permanent accommodation, and Al-Khous — the weaving of palm fronds — is one of the oldest regional handicrafts. Bedouins would use the technique to create baskets, bowls, mats, tablecloths, brooms, and bags to be carried by their camels. The palm leaves are dried out in the sun, then cut (to ensure all thorns are removed) and soaked before being dyed, if required, and then sewn together. It’s a painstaking process, that requires great attention to detail and a steady hand.
Bisht
This traditional long cloak, traditionally made from wool, was originally worn by Bedouins in winter, but is now an important part of the regional wardrobe for special occasions including weddings, graduations, and Eid. These days, most bishts are machine-made, and a high-quality, hand-tailored bisht is seen as something of a status symbol, having become the formal wear for politicians and other high-ranking individuals in the Gulf and beyond.
Al-Ahsa, in Saudi Arabia’s Eastern Province is renowned for its bisht tailoring, and many of the products are known by the names of the families who have made them for generations, including the Al-Qattan, Al-Kharas, Al-Mahdi, and Al-Bagli. Each tailor has their own thread (zari) design.
Speaking to Arab News a few years ago, one Al-Ahsa tailor, Abu Salem, said: “Black bishts with gold stitching are the most popular. In the early Nineties, new colors were introduced to the bisht market. Blue, grey and maroon are mostly worn by the younger generation. The older generation sticks to the traditional black, brown and cream.
“Tailoring bishts is an art that requires accuracy and skill. The gold embroidery requires patience and takes many hours,” he continued. “Hand-making one of these bishts could take from 80 to 120 hours and four tailors, each with one specific task.”
Sadu weaving
This ancient tribal craft dates back centuries. Bedouin Sadu weavers would create tightly spun tent awnings, rugs and more in a variety of colored patterns for their tribes using dyed wool, hair or fur woven on a floor loom. These days, Sadu patterns are commonly seen on clothing and interior décor. Speaking to Arab News in 2021, Mohammed Khoja, founder of clothing brand Hindamme, said that Sadu and its range of patterns “reflects an element of storytelling because it says so much about the livelihoods of the early Arabs. It comes in many forms in various colors, so it’s incredibly inspiring. I knew that I wanted to reference it in my designs. I wanted to reflect its beauty in a more contemporary format.”
Dr. Delayel Al-Qahtani, director of the studies and research department at Atharna, a social enterprise dedicated to Arabian culture and handicrafts, told Arab News: “Al-Sadu is a craft that requires innovative skills and a lot of effort, as the weaver has to work hard to transform the raw material into something new. It is an intricate craft that requires precise hand movements. The final product is always a beautiful design.”
Henna tattooing
The practice of applying henna — a reddish-brown dye made from dried, powdered leaves of the henna tree — to the body was recently added to UNESCO’s Intangible Cultural Heritage List, thanks in large part to the efforts of Saudi Arabia’s Heritage Commission. Henna has been used to dye skin, hair and fingernails since for millennia, dating back at least to the time of the ancient Egyptians.
A report from the Saudi Press Agency at the time henna was added to the UNESCO list stated: “Henna has great cultural significance in Saudi Arabia, with the art mastered by women and passed down through generations. It represents ‘joy and optimism’ and is a social tradition that strengthens community bonds.”
Pottery
Midianite pottery dating back more than 1,500 years has been discovered in northwestern Saudi Arabia, and it’s clear that pottery has a long and distinguished history in the Gulf in general. Cooking pots, cups and utensils are among the most common items crafted by traditional potters, and clay pots, especially, play a vital role in the region’s culinary heritage. As a recent Saudi Press Agency report stated: “The slow and even distribution of heat enhances the dishes cooked in (them), such as madhbi and mandi.” Local authorities in Jazan and other regions have been organizing workshops and courses to encourage the younger generation to keep this tradition alive.
Sword and janbiya making
The crafting of weaponry is another centuries-old skill that is being preserved in various areas of the Kingdom. The Najran region, in particular, is famed for producing some of the most stunning ornamental swords and janbiya (short, curved daggers). What were once necessities for desert tribesmen are now generally for decoration only, but the artistry required to produce them remains the same and is a source of great pride in the Kingdom and the wider Arabian Gulf. The daggers are generally “made from iron, with handles of animal horn, often adorned with silver or gold,” according to a recent SPA report. Carvings on the hilts and sheaths are often used to depict the owner’s tribal background. The finest examples can cost thousands of dollars.
