NEW YORK: A wave of feverish anticipation, fawning critical acclaim and groundbreaking cultural meaning pushed “Black Panther” to a record-setting $192 million debut in US and Canada theaters, firmly establishing the superhero sensation as a box-office landmark.
The Marvel film from the Walt Disney Co. blew past expectations to become the fifth-highest-grossing debut ever, not adjusting for inflation, following only “Star Wars: The Force Awakens,” “Star Wars: The Last Jedi,” “Jurassic World” and “The Avengers.”
In estimates Sunday, Disney predicted a four-day holiday weekend of $218 million domestically and a global debut of $361 million.
Though the film’s international footprint doesn’t include several of the largest markets — China, Russia and Japan — it still ranks among the top 15 global debuts ever. It’s also the highest-grossing February opening weekend.
“All hail the King of Wakanda!” Disney declared, referring to the movie’s mythical and highly advanced African nation.
Ryan Coogler’s film, which cost about $200 million to make, is the most expensive movie with a largely black ensemble and among the few to be centered on a black superhero. The strong opening suggests “Black Panther” will easily set a box-office record for films directed by a black filmmaker.
The previous best is Sidney Poitier’s 1980 comedy “Stir Crazy,” which took in $322 million domestically, when inflation is calculated.
“Black Panther” set pre-sale records and saw lines around theaters over the weekend, including some who came costumed for the event.
“This is the very definition of a blockbuster: People lining up around the block to see a great movie,” said Paul Dergarabedian, senior media analyst for comScore. “A movie like ‘Black Panther’ is a cultural event that nothing on the small screen can really match in that way.”
Chadwick Boseman stars as T’Challa/Black Panther in the first stand-alone film for the superhero created by Stan Lee and Jack Kirby in 1966. The cast also features Michael B. Jordan, Lupita Nyong’o, Daniel Kaluuya and Letitia Wright.
The movie has been hugely acclaimed, with a 97 percent fresh rating from Rotten Tomatoes. Audiences agreed, giving it an A-plus CinemaScore. The film especially resonated among African-Americans, who made up 37 percent of moviegoers, according to comScore.
Dave Hollis, distribution chief for Disney, called the film’s success “a real source of pride” for Disney.
“Inclusion and representation matters,” Hollis said. “We know that great stories can come from anywhere, and our goal is to make films that reflect the wonderful diversity of our world and resonate with audiences everywhere — no matter who they are, no matter where they come from.”
Coming at one of the slower periods of the year, “Black Panther” benefited from little competition, and it can be expected to dominate the marketplace for weeks.
Last week’s top film, the erotic romance sequel “Fifty Shades Freed,” slid to third place, with $16.9 million in its second week for Universal. Sony’s children’s book adaptation “Peter Rabbit” held much stronger, taking the No. 2 spot with $17.3 million in its second week.
But moviegoers — and Hollywood — were focused on “Black Panther,” including how it would fare overseas. Though considered by most to be an outdated myth, some have claimed that foreign audiences have less appetite for films with largely black casts.
“Black Panther” vanquished those notions with $169 million in ticket sales. It was No. 1 in most international markets, though “Fifty Shades Freed” bested it in Germany.
Its release in China will come later. This weekend, the Chinese New Year holiday, local productions led by “Detective Chinatown 2” and “Monster Hunt 2” dominated Chinese theaters, with more than $140 million in ticket sales each.
“Black Panther” also performed especially well on large-format screens. Imax reported $30 million in ticket sales for the three-day weekend.
“There was a groundswell of wanting this movie to work, and then when it actually did as a film, itself, it just kicked it up a notch to a level no one could have ever predicted,” said Greg Foster, Imax Entertainment’s chief executive. “That makes me feel really good about the movie business.”
‘Black Panther’ blows away box office with $192M weekend
‘Black Panther’ blows away box office with $192M weekend
Jordanian artist aims to ‘inspire and heal’ through her book
- Aida Murad hopes that she can help people to feel seen through life lessons and navigate the different emotions that humans experience
- Murad: In the book, you would find harder emotions like sadness and confusion and being lost, and also happier ones, and how to navigate both
RIYADH: Jordanian-American impact artist Aida Murad hosted an exhibition in Riyadh’s St. Regis on Wednesday, commemorating the launch of her new book, “Life Is a Miracle.”
Through the book, Murad told Arab News, “I want them to feel seen. I think that my purpose in life is to help people feel seen, heard and loved. I think because I wanted that the most, and there is something so beautiful when a human sees you and loves you, even when they see you fully.”
She hopes that she can help people to feel seen through life lessons and navigate the different emotions that humans experience.
“In the book, you would find harder emotions like sadness and confusion and being lost, and also happier ones, and how to navigate both. As Arabs, I don’t think we do a good job of talking about the spectrum of emotions,” she said.
Through her art and her book, Murad hopes to inspire readers to appreciate and celebrate the smallest of miracles in life, such as breathing.
“The title, ‘Life is a Miracle,’ came to me because I find that people, including my past self, would wait until big things happened in our lives to be like, ‘Wow, this is a miracle’ or ‘Wow, this is beautiful.’
“I started realizing that to train myself to be happier, whole, human and more content, I started training myself to notice the small miracles,” she said.
“Just by me waking up, you know how many miracles have happened, you know how many trillions of cells are moving,” Murad said.
The book has been five years in the making: “The real-time that it took was the courage. I feel that the content could have been ready years ago, but I think it’s the courage to take a step out and say, ‘This is me.’”
Murad stressed the importance of courage when it came to publishing the book: “You just have to trust and share.”
The book has sections titled “key messages” that serve as reminders of important life lessons.
She encourages readers to open to a random page, find their message of the day, or flip through until they connect to a message.
“I decided to compile my pieces into the ones that are ready to be shared with the world and their stories and a key life message because I don’t want people just to be passive; I want them to be involved, and that is why I created the creative activity,” she said.
Along with the launch of her book, Murad is co-hosting an art exhibition at St. Regis Riyadh, which she described as her “dream partner.”
The exhibition that opened on Wednesday features 30 paintings with a common theme of “accepting your higher mission on Earth.
“It’s about connecting with your inner purpose and accepting it,” the artist said.
Each of her pieces comes with lessons and themes that help people to unlock their mission in life through greater understanding.
Murad underlined that her aim through the book and her art was to heal, inspire and help people be seen.
Originally from Jordan, Murad has lived in US cities such as New York, Washington, D.C. and Los Angeles. She has called Riyadh home for more than a year.
Speaking about her year living in Saudi Arabia, Murad said: “The people are the kindest people I have ever met. I do not want to be anywhere else in the world other than here. The land inspires me, the energy inspires me, everything, and I am grateful to be here.”
French artist Patrick Tresset brings robotic art to ‘Ai or Nay?’ exhibition in Qatar
DOHA: Brussels-based French artist Patrick Tresset, known for integrating robotics into his art, is presenting a thought-provoking installation called “Time to Read,” at the exhibition “Ai or Nay? Artificial vs. Intelligent” in Qatar.
The exhibition, taking place at the Media Majlis Museum at Northwestern University until May 15, examines the relationship between artificial intelligence and human creativity through the works of more than 20 regional and international artists.
“Time to Read” invites visitors to sit and read a book for 30 minutes while two robotic arms draw their likenesses. The resulting portraits become part of a global collection which now includes over 50,000 drawings created by similar installations worldwide.
“The idea came from a lunch I had with a gallery director in Paris,” Tresset told Arab News. “We were talking about reading, social media and how we don’t have the attention anymore. After the lunch, I thought, ‘I should do a piece about that’.”
Tresset’s career took a significant turn when he transitioned from traditional painting to robotics after experiencing a creative block.
“I used to be a painter, but at some point I lost my way. Everything I did didn’t feel right anymore,” he explained. “Because I had a computer when I was very young, I had the intuition I could do something with computational systems, so I switched to that.”
His work with robotics led to installations like “Time to Read” that incorporate elements of performance and audience interaction.
“I realized the theatrical potential, and that is why I started to exhibit those types of installations where the robots are actors. It is a performance. It is an art installation. It is a drawing,” he said.
Discussing the implications of technology in the creative field, Tresset said: “A pen is a technology, and so is a hammer — you can use them constructively or destructively.”
With “Time to Read,” he added, he wanted to show how technology can help us reflect, reconnect, and slow down.
Diriyah Storytelling Festival breathes new life into Saudi Arabia’s literary heritage
- Event offers deep dive into Kingdom’s rich tradition
- Locals, visitors explore Saudi literature
RIYADH: The Diriyah Storytelling Festival brings together literary enthusiasts, publishers, and celebrated authors and provides a deep dive into Saudi Arabia’s rich storytelling traditions and evolving literary landscape.
The event, which lasts until Feb. 8, features panel discussions, book signings, live performances, and interactive experiences.
The festival is attracting a diverse audience, including international visitors who engage with Saudi authors to explore locally published books.
One of the standout sessions, “The Roots of the Tale,” featured renowned Saudi novelist and journalist Badryah Al-Bishr, who spoke about the transformation of storytelling into modern literature.
Al-Bishr said: “My participation was all about tracing the wisdom of storytelling to the structure of novels. Since I studied folk tales in my master’s degree while also writing novels, I explored how traditional narratives evolved before written literature.
“Societies have always needed this literary and cultural influence — it serves deep and indirect functions, whether in raising children, comforting sorrowful hearts, or inspiring values and ideals.
“This is what we now call ‘soft power.’ Storytelling has always shaped minds, transferring across cultures like the tale of ‘Cinderella,’ which exists in Russia, Europe, and even Najd.”
A key aspect of the festival is its focus on showcasing Saudi literature to international visitors, offering translations and accessible editions of local works.
Modi Al-Dossari, from the Tashkeel Publishing House, noted the growing interest from foreign attendees, and added: “We’re working on something big here at the festival.
“The visitors are quite diverse, including many foreigners eager to learn about our culture.
“At Tashkeel we have Saudi books and stories translated into English, and they are among our bestsellers. It’s amazing to see our culture being shared in such a smooth and accessible way.”
The availability of translated Saudi literature has helped bridge the gap between local storytelling and a global readership, highlighting the richness of Saudi narratives and their universal appeal.
Beyond book discussions, the Diriyah Storytelling Festival provides visitors with a fully immersive cultural experience, allowing them to explore the historic and artistic depth of Diriyah.
Entry to the festival costs SR40 ($10.66) per person, which includes access to all three locations — Bujairi Terrace, Bab Samhan Hotel, and Al-Zuhayra — as well as shuttle transportation between the venues and parking areas.
The festival also features restaurants, cafes, and boutique shops, making it an ideal destination for both literary and cultural exploration.
Hind Mohammed, who was attending, said: “I loved visiting Diriyah, especially Bujairi Terrace. It’s such a beautiful and enriching experience, with a vibrant atmosphere, and fantastic cafes, restaurants, and children’s play areas.”
Visitors can witness the breathtaking sunset over Diriyah’s landscape — and see a combination of golden light, traditional architecture and peaceful surroundings creating a spectacular and serene experience.
Saudi Arabia’s literary scene has witnessed remarkable growth in recent years, with increasing global recognition for local authors and their works. Events like the Diriyah Storytelling Festival contribute to this transformation by providing a platform for dialogue, creativity, and cultural exchange.
Designers offer up day-to-evening wear at Dubai Fashion Week
DUBAI: Day three of Dubai Fashion Week saw presentations by fashion label BLSSD, New York-based British Iraqi designer Tara Babylon, Dubai-based Lebanese designer Dima Ayad and a multi-designer showcase curated by department store Etoile La Boutique.
Somali Norwegian model Rawdah Mohamed walked the runway for Ayad, who stayed true to her brand’s founding ethos and offered up chic looks for a diverse range of body shapes. Houndstooth patterns were employed in various hues across the collection, while winter-appropriate fabrics and evening wear options in rippled gold also made an appearance.
Babylon took over the runway with her Autumn/Winter 2025 collection titled “Princess of Thieves.” The designer brought a warm and tropical vibe to the winter collection with Middle Eastern-inspired palm tree prints and earthy green tones. Weaving, printing and crochet techniques were used along with recycled cotton tapestry to create stylish winter pieces.
The Central Saint Martins and Parsons-educated designer is known for the performance-like aspect of her shows, and Monday night’s showcase in Dubai was no different. Models strode down the runway in a series of artfully created balaclavas that matched the ensembles.
Meanwhile, Etoile La Boutique’s invite-only showcase was a curated multi-designer collection titled “Twilight to Midnight.” The playful showcase offered up a sunshine yellow taffeta dress alongside a sequined mini-skirt and expertly cut leopard-print trench coat.
UAE-born and bred streetwear and ready-to-wear label BLSSD showcased its signature experimental styles in seasonal colours — a floor-grazing blazer paired with slouchy, masculine trousers was a particular draw at the show.
Ithra’s Kimono Exhibition showcases art, evolution of a Japanese symbol in Saudi Arabia
DHAHRAN: As part of the Japan Cultural Days event that ends on Feb. 8, the King Abdulaziz Center for World Culture (Ithra) is hosting a Kimono Exhibition, offering visitors an up-close look at these traditional Japanese garments synonymous with the country.
Maha Abdulhadi, creative programs specialist at Ithra, explained the significance of the exhibition to Arab News.
“The Kimono Exhibition at Japan Cultural Days is not just a fashion showcase — it (is) a deep cultural experience. It celebrates Japan’s artistic legacy, demonstrates the adaptability of tradition in a modern world, and strengthens cultural exchange between Japan and global audiences,” Abdulhadi said.
As one of the most iconic symbols of Japanese tradition and craftsmanship, the kimono has served as a representation of Japan’s rich cultural identity and its textile artistry, showcasing centuries-old techniques of dyeing, weaving and embroidery, while also demonstrating how contemporary designers have reinterpreted the kimono for modern sentiments.
The exhibition also highlights the significance of kimonos in different celebratory occasions, showcasing how their styles vary depending on the event.
The patterns and fabrics of kimonos often reflect seasonal changes, festivals and artistic aesthetics, further emphasizing their connection to Japanese culture.
This free exhibition showcases 17 kimonos in total, carefully selected to highlight the evolution of this iconic Japanese attire.
Ten kimonos were loaned from the Japan Kimono Museum in Fukushima. These pieces represent antique kimonos from different historical periods, reflecting the craftsmanship and aesthetic sensibilities of the Meiji (1868-1912), Taisho (1912-1926), and Showa (1926-1989) eras. The Japan Kimono Museum, which opened in 2022, houses the largest collection of kimonos in Japan, with approximately 10,000 items in total, including accessories.
“I would like to add that the design of one of the uchikake kimono displayed from the Japan Kimono Museum is by Kansai Yamamoto, a fashion designer who was active in Paris Fashion Week and other events,” Abdulhadi added.
In addition to the historical pieces, seven kimonos in the exhibition came from a private collector based in Japan, showcasing modern interpretations of the traditional garment.
The selection of kimonos was curated by Ithra’s Museum & Exhibition unit. The curatorial team focused on presenting the evolution of kimonos, emphasizing their intricate dyeing techniques, exquisite craftsmanship and regional styles that tell captivating stories of tradition and heritage.
Beyond being a fashion exhibition, the event as a whole, which began on Jan. 23, was created to foster cultural exchange as the two countries celebrate 70 years of Saudi-Japan diplomatic relations.
