Dina Shihabi: The actress blazing a trail for Saudi women

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Dina Shihabi had begun her journey for film stardom, despite all the cultural obstacles she faced in the region.
Updated 17 May 2018
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Dina Shihabi: The actress blazing a trail for Saudi women

  • Dina Shihabi is the first and only Saudi woman to be accepted to both Juilliard and the Graduate Acting Program at New York University’s Tisch School for the Arts, two of the most prestigious acting programs in the US.
  • Early setbacks helped me develop a strong work ethic, says Dina Shihabi

JEDDAH: The 71st Annual Cannes Film Festival, which continues this week on the French Riviera, is a historic occasion for Saudi Arabia, as it marks the first time that the Kingdom has participated in the event.

The newly formed Saudi Film Council is debuting nine short films by young Saudi filmmakers, and hosting a pavilion where guests can network with fellow professionals and representatives of the Saudi film industry, and scout out prospective film locations within the Kingdom. After officially reintroducing movie theaters last month, and establishing an opera house and national orchestra, along with the now frequent staging of musical and sporting events, Saudi Arabia is in the midst of an entertainment overhaul.

But long before any of these reforms began taking place in the Kingdom, a young Saudi actress by the name of Dina Shihabi was already blazing a trail for Saudi women in cinema as she began her own film journey in the face of regional and cultural obstacles. She was motivated to pursue an acting career and persist despite the challenges she faced along the way, and is now delighted to be witnessing the incredible, rapid changes for women, and the film industry, in Saudi Arabia.

Born in Riyadh to Saudi parents of Palestinian origin, Shihabi grew up in Beirut and the UAE, and started taking dance lessons at a young age. Speaking exclusively to Arab News, she recalled her first encounter with the performing arts in Dubai.

“I was 11 years old when I took Sharmila Kamte’s street-jazz class and everything changed,” she said. “I went home that night and told my parents I was going to become a dancer. And I wasn’t good at it — I could hardly move — but I was so obsessed with it that I would practice all day and night. I’d literally practice on my chair in school. Within a year I started dancing in Sharmila’s professional company and that’s what started my journey. It opened up that possibility in my mind.” 

Shihabi had her first taste of acting while attending high school in Dubai, where she frequently appeared in school plays. Her stage presence was noticed and she was encouraged to develop it further by her theater instructor, who advised her to pursue an acting career. At the age of 18, with the love of acting deep in her heart, she moved to New York City. 

“When I first auditioned for colleges to get an acting degree, I got rejected from every program I wanted,” she said. “I ended up going to a small conservatory for two years and then not getting invited back for the third year. I think about all these rejections so early on and none of it stopped me. It just made me work harder.

“I then started taking a class with an artistic director by the name of Wynn Handman, who was incredible. After studying with him for a year I got accepted to Juilliard and New York University’s graduate acting program, two of the finest acting programs in the US — far more prestigious than any acting school that I was applying to at 18.

“Rejection is a huge part of what this life is all about, and those early setbacks really helped me develop a thick skin and a strong work ethic.”

Shihabi was the first, and remains the only, Saudi woman to be accepted to both of these world-renowned acting schools. She graduated with her Master of Fine Arts in 2014 and quickly landed her first lead role in the 2014 romantic comedy film, “Amira & Sam,” in which she played Amira, an Iraqi-Muslim illegal immigrant living in a post 9/11 New York City.

Reflecting on her motivation for pursuing an acting career, a bold choice for a Saudi woman at the time, Shihabi spoke of a love of film that goes back to her childhood.

“I’ve always been a lover of movies,” she said. “I used to come home every day from school and watch one movie over and over again for a month. Everything from ‘Jurassic Park’ to ‘The Sound of Music.’ ‘Memento’ was a huge favorite of mine and started my obsession with director Christopher Nolan that has lasted to this day.

“But being an actor never came up in my mind as something possible. Growing up in Dubai, (wanting to be an actor) is not something that’s common. Then later, when I moved to New York to pursue both (dancing and acting), acting just organically won over. I feel like this life chose me. Everything happened so naturally and now I can’t imagine my life not as an actor.”

Given the rapid changes happening in Saudi society, both for women and the film industry, young Saudi women who decide to pursue an acting career may have things a little easier than Shihabi did. However, she is delighted about the sweet justice of equal rights and increased opportunities for women in the country.

“It’s so exciting,” she said. “I feel very proud of it all. I have so many female friends in Saudi Arabia who are business owners and have master’s and doctorate degrees, and I’m just so excited that the country they live in is going to better reflect the brilliant and powerful women that they are.”

This sense of shared pride is embedded in Shihabi’s identity as an Arab woman, but it was tested when she was starting out as industry professionals urged her to change her name — something many actors agree to for a variety of reasons.

“I was told to change my name because my instructors thought my Arab last name would limit my casting opportunities,” said Shihabi. “I didn’t want to. I love my true name and I’m proud of where I’m from. I grew up wishing someone who had a name like mine, and grew up where I did, was doing what I wanted to do, and so I wanted to be able to be just that.”

By insisting on keeping her given name, Shihabi is living proof that anyone with a dream can follow their passions without giving up their cultural and family heritage.

This is an exciting time for children in Saudi Arabia, who will grow up with international entertainment options that were not available to previous generations. They will spend weekends at movie theaters and not have a second thought of our 35-year cinema drought. 

For those children who become inspired to act as a result, Shihabi advises a steadfast approach. 

“Do it. It’s a challenging but such an enriching life,” she said. “And don’t just become an actor — write and tell your stories. The world needs you. I need you.”

A versatile actress who relishes taking on a wide variety of roles, Shihabi has a particular fondness for the genre of drama.

“I love acting in dramas. I love how it feels to get sucked into a world when you’re doing a drama. There’s silence around the experience. It’s hard to explain but it feels like the character and world sinks into your skin so deeply.”

Always one to look ahead, Shihabi discusses some of her acting goals: “I’ll share the first three that come to mind: I want to make my own movies and TV shows; I want to play Hamlet; and I would like to develop an artistic partnership with a director with whom I can make a series of projects with.”

Next up for Shihabi is a notable role alongside former “The Office” star John Krasinski in “Tom Clancy’s Jack Ryan,” an Amazon-produced series that will debut on its Prime streaming service August 31. 

She has also been cast in comedian Ramy Youssef’s upcoming Hulu TV show, due to premiere in 2019.


New York Arab Festival returns with diverse lineup

Updated 02 April 2025
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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.


Maja-Ajmia Zellama tackles cultural identity and grief in ‘Têtes Brûlées’ 

Updated 28 March 2025
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Maja-Ajmia Zellama tackles cultural identity and grief in ‘Têtes Brûlées’ 

  • The Belgian-Tunisian director discusses her Saudi-backed debut feature 

RIYADH: Belgian-Tunisian-Danish filmmaker Maja-Ajmia Zellama’s debut feature “Têtes Brûlées” (‘Hotheads’) received two special mentions at last month’s Berlin International Film Festival.  

The film, which was backed by Saudi Arabia’s Red Sea Fund, has been praised for its depiction of a universal story through a singular lens. Zellama wrote and directed the movie, which follows the story of Eya (played by Safa Gharbaoui), a 12-year-old girl growing up in a Tunisian-Muslim family in Brussels, whose life revolves around her beloved 25-year-old brother Younès and his friends. Following Younès’ sudden and unexpected death, Zellama takes viewers through the culture, customs, resilience, and solidarity of this tight-knit community through the family’s mourning period.  

Safa Gharbaoui, Mehdi Bouziane and Mounir Amamra. (Supplied)

“I didn’t expect so many compliments about the film from people who are not Muslims or not from immigrant backgrounds,” Zellama told Arab News. “I spoke a lot with a teenager from Germany, and I understood at that moment how grief is so universal. There are other people who say, ‘Oh yes, I’m learning a new thing about a new culture and new religions.’” 

Zellama also expressed her appreciation for the Red Sea Fund’s support of a “multicultural” story. “For me, it was a major recognition to have this help and support from a Muslim country. It helped me to make this kind of film, and I’m also very curious about working more with Middle Eastern countries,” she said.  

The film tackles aspects of identity, the Arab diaspora, collective grieving, religion, cultural customs, and commentary on street crimes. Largely set in the family house, constantly filled with people after Younès’ tragic death, one of the director’s goals was to show the contrasting comfort and simplicity of immigrants’ family lives compared to their lives outside of their homes.  

Safa Gharbaoui. (Supplied)

“For me, the most complicated part of identity and immigration is systemic racism,” Zellama said. “It’s oppression in the society. But in the home, it’s not always so complicated. There are nuances; it’s complex, but in a positive way.”  

Zellama’s own life was a major inspiration for the film. Her father is Tunisian and her mother Danish. She was born and raised in Belgium around a large Tunisian community. Her household was home to two religions and three languages. “The question of identity has been present all my life, of course, as a mixed kid, but also as a person of the diaspora,” she explained.  

And Zellama’s experience of losing a much-loved family member was central to the narrative. “When I was grieving with my family, it was the most difficult time in my life. But it was also one of the moments in my life when I felt the most love and solidarity, because we were surrounded by so many people who were (making us) dinner, going to the grocery, giving money,” she said. “So, for me, yes, there is the grief that we had in our family, but also — and most of all — the love.”  

Safa Gharbaoui and Mehdi Bouziane. (Supplied)

The film explores spirituality in a nuanced and open way, particularly in its funeral and burial scenes, inspired by Zellama’s own journey with faith. She was keen to have Eya find a kind of forbearance through religion while also providing representation and an alternate, more complex, portrayal of Islam in countries outside the Middle East.  

“Muslims are very different, and each person practices religion in a different way,” Zellama said. “She finds this way, and she’s good with it.” 

And the film has proven to cross cultural and religious boundaries, with viewers from other faiths and backgrounds connecting to its central themes. 

“Just to hear the Qur’an, (even if) you don’t understand it, you can feel something,” she said. “You don’t know what it is, but you can feel something. When you see her praying, you can imagine. And, for me, that’s enough.” 

The character of Eya is key to the film’s success: she’s mature, but also playful; she’s creative, clever, defiant, and works to break stereotypes throughout the film. One of the most affecting, and effective, scenes is when she breaks away from the group of mourning women to help bury her brother alongside the men.  

“I wanted to have a character who grows up in a lovely family who give space for this young girl to be what she wants,” Zellama said. “She doesn’t (think to) herself, ‘Oh, this is a boy thing or a girl thing.’ No, she’s doing what she wants to do at this moment.  

“She’s very impulsive, and the impulsivity was also an important thing in the character of Eya,” she continued. “She looks like so many Muslim women and children I see around me. So, this was not me making a ‘statement.’ It was more me thinking that there are so many strong little girls around me, and I wanted to have a character like that.”  


Saudi surrealist filmmaker Meshal Al-Jaser talks AlUla, tasheer, and ‘Gunpowder’ 

Updated 01 April 2025
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Saudi surrealist filmmaker Meshal Al-Jaser talks AlUla, tasheer, and ‘Gunpowder’ 

  • The Saudi filmmaker’s viral music video explores otherworldly landscapes and traditional dance

ALULA: For the video of the latest track from his electronic music project Arabian Alien, Saudi filmmaker Meshal Al-Jaser headed to the heart of AlUla’s dramatic desert landscape. “Gunpowder” blends striking visuals with Al-Jaser’s signature surrealist touch. 

The track, created with his bandmate Mohammed Alhamdan, explores themes of heartbreak and disillusion, using the raw beauty of AlUla to amplify its message. 

“It’s about tragedy,” Al-Jaser tells Arab News. “It’s about someone who’s trying to cope with getting his heart broken.” 

Meshal Al-Jaser. (Supplied)

The video has racked up more than 1.7 million YouTube views in the first month of its release, thanks to its arresting visuals, especially of the Hejazi war dance, tasheer, which involves firing rifles into the ground as the wielder jumps into the air, sending a dramatic display of fire and gunpowder under their feet. 

“I was always fascinated by tasheer, in terms of visuals,” says Al-Jaser. “A lot of the tribes in Hejaz practice it. And, like many other Saudi dances, it really originates from trying to intimidate the enemy. With time, it became more of a celebratory dance that they do at weddings and such. 

“For years, I really wanted to capture it the right way, because it requires a lot of elements to come together,” he continues. “What’s specifically fascinating about it for me is really the precision and the skills of the people that do it. You have to jump at the right time, point in the right direction, shoot at the right time and land at the right time. It’s not a simple dance. It requires a lot of skill.” 

Shooting the video for 'Gunpowder' in AlUla. (Supplied)

“Gunpowder,” is an extension of Al-Jaser’s mission to capture the true essence of Saudi culture. “I don’t want to change anything in it or bend it around, as much as I just want to capture it in the way I view it,” he says. 

Shooting against the towering sandstone cliffs and vast desert landscape of AlUla was also a treat. “I was really mindblown. It’s one of the most unique locations in the world. It’s very diverse. Every piece of it feels like a whole different world. So, when (Film AlUla) approached me (to shoot a video there), I already knew it was going to look good because of the environment,” Al-Jaser says. “One of the biggest challenges was that we only had two days to shoot it. We were just running around to really try to capture all the essence of the place, because it’s so different.” 

From viral YouTube sketches to acclaimed short films, Al-Jaser’s work has challenged cultural taboos and reimagined Saudi identity through a satirical lens. His storytelling often explores the tension between tradition and modernity, mixing absurdity with sharp cultural commentary. 

Al-Jaser's Arabian Alien bandmate Mohamed Alhamdan. (Supplied)

In 2023, Al-Jaser released his debut feature film, “Naga,” which boldly set out his signature style — provocative, surreal and unafraid to push cultural boundaries. The film, which premiered at the Toronto International Film Festival, is a thriller-horror hybrid set in a dystopian desert landscape. It follows a rebellious young woman named Sarah, who sneaks out to attend a secret party in defiance of her conservative father’s rules. But when she misses her curfew and tries to return home, her night takes a bizarre and terrifying turn. 

“My ultimate dream was always to become a filmmaker and make feature films. So this was just a small step towards that,” Al-Jaser says. “It was very interesting. Anyone you know who has shot a feature film would tell you that it’s the hardest thing they’ve done, because, especially with the first film, you kind of want to do so much with so little, and it’s a whole different experience. 

“I know it’s all directing and storytelling, but, really, the amount of effort it takes to make a feature film as opposed to a short film makes it feel like a whole different medium. So, my experience was very challenging, but at the same time, I also feel really privileged to have done my first feature with Netflix. It was nice for them to really believe in me. And for it to go to Toronto… I’m so thankful for that.” 

Al-Jaser hopes to make his big-screen start as a filmmaker soon. “Hopefully I will make my cinematic debut, because ‘Naga’ was a streaming film,” he says. “I’ve never experienced my film in a cinema and that’s something I’m really looking forward to. 

“I really am attempting to do the best I can. Of course, I feel the weight and the responsibility, since I’m one of the first generation of Saudi filmmakers, but I also feel the privilege of that,” he continues. “If I can stay focused — which is easier said than done — then hopefully everything will fall in the right place.” 


REVIEW: ‘The Residence’ — gloriously silly and wonderfully fun

Updated 28 March 2025
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REVIEW: ‘The Residence’ — gloriously silly and wonderfully fun

  • Netflix’s latest Shondaland series is a brilliant whodunnit for the streaming generation

LONDON: There’s a common thread running through most of the year’s best TV so far — one that looks sure to continue through the upcoming shows expected to dominate the next awards season: they have tended to be high-brow, high-production affairs shows with Very Serious subject matter and Very Serious performances.

And they’ve been Very Good to watch, it’s true. But sometimes you need something that’s just a bit more… fun.

Step forward “The Residence,” the latest show in Netflix’s megadeal with Shonda Rhimes’ production company. This eight-part whodunnit is set in a fictionalized version of the White House and is a typically screwball murder mystery with an array of eccentric characters and a charismatic lead detective. But, more importantly, “The Residence” is wonderfully, absurdly, stupendously fun. In an era of serious TV, it’s a glorious palette cleanser, a rollicking, twist-riddled romp through the most famous house in history.

During a state dinner for the visiting Australian prime minister, the US president receives the shocking news that a murder has been committed on the grounds. With hundreds of guests (including the odd cameo from real-world figures) and staff in attendance, the whole house is locked down so that legendary detective Cordelia Cupp can swoop in and solve the crime.

The masterstroke here is casting Uzo Aduba (“Orange is the New Black”) as Cupp — a character as brilliantly deductive as she is hilariously deadpan. The writing is snappy and concise, sure, but it’s Aduba who brings it to life across a show that could have been, at eight episodes, a couple hours too long to sustain a sole mystery.

Thankfully, with comic chops as accomplished as these — and a supporting cast that includes excellent turns from Giancarlo Esposito, Jason Lee and others — there’s little sense of lag, even as audiences are treated to the umpteenth plot twist. And yes, all of the most obvious mystery tropes are shamelessly mined, and Cupp’s abrasively, frustratingly brilliantly detective feels like an homage to many of those who have come before (even Benoit Blanc gets a namecheck), but when a show is this much fun, you won’t care. Bingeworthy escapism at its finest.


Huge ancient tomb discovered in Egypt 

Updated 27 March 2025
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Huge ancient tomb discovered in Egypt 

  • Site at Abydos, south of Cairo, largest find in over a decade
  • Unknown king’s final resting place thought to be more than 3,600 years old

LONDON: Archaeologists in Egypt have discovered a tomb belonging to an unknown pharaoh around 300 miles south of Cairo.

The site, which is being worked on by Egyptian and American researchers, is the second such discovery to be made this year and is believed to be around 3,600 years old.

The tomb was uncovered 23 feet below Abydos, one of Egypt’s oldest known ancient settlements.

With 16-foot-high vaults and ornate decorations across several chambers, the find dwarfs a previous discovery of a tomb in the area from 2014, previously the largest on record, which belonged to a king called Seneb-Kay.

Josef W. Wegner, a curator at the Penn Museum in Philadelphia who is leading the American side of the dig, told the New York Times: “It’s a new chapter in investigating this dynasty.”

The tomb of the unknown king contains painted scenes from ancient Egyptian mythology, including images of the goddesses Isis and Nephthys.

Describing the find as “exciting,” Wegner said: “This tomb and Seneb-Kay’s tomb are the earliest surviving royal tombs that actually have painted decorations inside of them.”

However, the tomb has suffered significant damage over the millennia, and no identifiable human remains have been recovered.

It is thought that grave robbers also ransacked the site in the past, with little in the way of artefacts found in the tomb.

The damage caused by the break-ins has also left much of the decoration tarnished, including rendering portions of writing on the structure bearing the king’s name illegible.

Wegner said the identity of the tomb’s owner may be found in other inscriptions on monuments and buildings around ancient Abydos, with two kings named Senaiib and Paentjeni identified as potential candidates.

He added that work would continue to preserve the find, and to uncover other tombs that may shed more light on the broader period, and potentially the identity of the unknown king.

“It’s always our dream to find one that’s intact or partially intact,” he said. “There may yet be tombs like that.”

Prof. Anna-Latifa Mourad-Cizek, a University of Chicago archaeologist, told the NYT that the find is “highly significant” for understanding “a fascinating period when Egypt was controlled by competing powers.”

Wegner said the era was defined by “a phase of warrior pharaohs fighting it out,” adding that the skeleton of Seneb-Kay bore wounds that suggested he could have died in battle.

Though the region was fragmented at the time, Wegner said, the Abydos dynasty was not “a kind of flash in the pan where you’ve got a handful of kings breaking off from whatever original territory they belonged to.”

The dynasty laid the foundations for the later unification of the country in what would later become known as “the great empire of the New Kingdom,” he added.