TOKYO: Katakura Kunio, the former Japanese ambassador to Egypt, Iraq, and the UAE, has paid tribute to Safeya Binzagr, who passed away last week, emphasizing the profound impact of her contributions to enhancing Japan’s cultural ties with Saudi Arabia.

Binzagr, known as the “mother” of Saudi Arabia’s fine art movement and a symbol of Vision 2030, helped bridge the cultural link between Japan and Saudi Arabia and was the aunt of current Saudi Ambassador to Japan Dr. Ghazi Faisal Binzagr.

Katakura, chairman of Japan’s Foundation for Desert Culture, fondly recalled Safeya’s “warm and encouraging nature” toward him and his late wife, Motoko.

“Her support was instrumental in Motoko’s cultural anthropological fieldwork in Wadi Fatima,” he said. “She always welcomed the foundation’s follow-up missions with open arms, fostering a deep and personal connection with us.”

Katakura said Binzagr was not only a gifted artist whose work inspired many but also a cherished friend and mentor. Her passion for creativity and dedication to her paintings left an indelible mark, and her artistic legacy will continue to inspire future generations.

Ambassador Binzagr commented: “Building a cultural bridge is the core for creating a distinguished future between two countries and I strive, as an ambassador, to support this because it creates an opportunity for common interests to rise to a common outlook and mutually supportive values.

“The mission carried out by my late aunt will continue (in) the making of a new era. She was one of the pillars that paved the way for this through her dedication to building and promoting the culture of the arts for future generations. The Kingdom considers her the mother of the cultural heritage of creative fine arts.”

The ambassador said there are ongoing efforts to further collaboration between Japan’s Foundation for Desert Culture and prominent foundations in the Kingdom to build upon the cultural ties between the two countries.

DUBAI: Audiences will be forgiven for rolling their eyes at yet-another supervillain origin story. But thanks to Colin Farrell’s “The Penguin,” for the first time in a very long time, you won’t walk away from your TV feeling mildly dissatisfied or pining for the long-gone golden age of superhero storytelling.

HBO’s eight-episode limited series — written and created by Lauren LeFranc (“Agents of S.H.I.E.L.D.” and “Chuck”) — tells the story of the rise of Oswald “the Penguin” Cobb, or just “Oz,” from underworld criminal to mob kingpin; and does so in a richly realized manner that will earn comparisons to TV epics such as “The Sopranos.”

The show begins a week after the events of Matt Reeves’ “The Batman” (2022), where the citizens of Gotham are recovering from the deadly floods released by the Riddler, destroying entire neighborhoods and killing thousands. Oz (Farrell, who again disappears into the role thanks to game-changing prosthetics and acting instincts honed over decades) plans to exploit the chaos of the floods and the power vacuum left behind by the recent death of mob boss Carmine Falcone (Mark Strong).

Helping him in his endeavour is young Victor (Rhenzy Feliz), a wannabe criminal who lost everything to the flood. Oz and Victor’s pseudo father-son dynamic forms the beating heart of a tragic story of corruption, greed and violence; and accurately depicts how monsters are not born but created by a society that is sick at its core.

Additionally stirring the pot is Cristin Milioti’s Sofia Falcone, Carmine Falcone’s daughter who is released from Arkham Asylum after a 10-year stint and is looking to take control of her father’s empire.

“The Penguin” sings when Farrell is on screen. The Irish actor gives the role his all, and watching him go from impulsive and rage-filled violence to quiet vulnerability to easy charm and then wounded puppy is a treat to behold.

And it is not always an easy watch, either. An episode dedicated to Sofia’s backstory that examines her life before, during and immediately after her stint in Arkham Asylum makes for a riveting but incredibly grizzly and difficult sit. Milioti handles Sofia’s justified anger and need for control and power with mesmerizing charm and deliciously dark humor.

With “The Penguin,” LeFranc has created something truly transformative, and no amount of superhero fatigue should keep you from watching it.