DUBAI: British-Moroccan model Nora Attal posed up a storm in Marrakesh’s golden sunlight for a new campaign by fashion brand Zara.
The in-demand model shared snaps from the campaign, photographed by Christian Macdonald, on her Instagram account.
The collection of photographs show Attal modelling looks from Zara’s laid-back Spring/Summer 2019 collection against a backdrop of rippling sand dunes. Her featured ensembled include kaftans and long-length cardigans with hefty stripes in a clay-and-beige color palette.
Attal is no stranger to fronting campaigns — in January, the model was chosen as one of seven rising stars to feature in British fashion house Alexander McQueen’s latest campaign.
The Spring/Summer 2019 collection photoshoot was shot by British fashion and documentary photographer Jamie Hawkesworth and featured Attal wearing a number of cowboy-inspired looks.
The year has gotten off to a busy start for Attal, who was similarly in demand in 2018, when she took to the catwalk for Elie Saab, Loewe and Dior during Paris Fashion Week in September and starred in Italian fashion label Versace’s summer advert campaign.
In May, luxury e-retailer Farfetch launched in the Middle East with a little help from the young model.
She starred in a photoshoot wearing pieces from collections on sale on the platform. The colorful photographs were accompanied by a snappy, chatty interview with the young model.
Readers got the chance to gain insight into her earliest fashion memories and learn some off-the-cuff facts about the star.
“Recently I’ve been obsessed with noughties trends. Everyone was so cool and effortless back then. Now I go out in a full Juicy Couture tracksuit with no shame,” she told Farfetch at the time.
“If I wasn’t a model, I’d probably be at university, studying to get into something like criminal investigations, profiling or law,” she added.
Attal finished off 2018 by hitting the sand dunes in the UAE — however, this time it wasn’t part of a high-end photoshoot, but rather a day of fun.
The model enjoyed an afternoon of sandboarding in the emirate of Sharjah and even posted a snap on Instagram at the time.
“Apparently sandboarding is a thing,” she captioned the sunset shot.
Japan’s Kaneko Masakazu explores memory, myth and nature in intimate Saudi Film Festival talk
Updated 22 April 2025
Jasmine Bager
DHAHRAN: Japanese filmmaker Kaneko Masakazu — known for his cinematic exploration of nature, memory, and myth — captivated audiences at the 11th Saudi Film Festival (SFF) with an intimate and insightful conversation about the deep connections between culture and storytelling.
Masakazu was joined on stage by Abdulrahman Al-Qarzaee, a fluent Japanese speaker from Saudi Arabia who served as translator with cultural commentator Showg AlBarjas acting as moderator.
The conversation delved into how landscapes, folklore and cultural identity shape cinematic storytelling, facilitating a thoughtful exchange of ideas that spanned cultural boundaries.
During this session, Masakazu shared his approach to filmmaking, particularly in “River Returns” (2024), his third feature film. It was shown just days earlier at the SFF, which is set to wrap up on April 23.
The film, a stunning blend of fantasy and drama, takes place in a rural Japanese village and tells the story of a young boy’s perilous journey to a seemingly haunted body of water. There, he hopes to calm the grief-stricken spirit responsible for devastating floods that have plagued the village. The story is set during the 1958 typhoon, which serves as a backdrop to the boy’s journey.
Masakazu revealed how his work has always been centered on the relationship between humans and nature.
“My work deals with the relationship between nature and humans as its central theme. It tells these stories in a poetic, almost mythical style,” he said.
In “River Returns,” the boy’s journey to the mountain pool is not just a physical one, but a spiritual and emotional quest, too.
The film captures how natural disasters can be viewed as manifestations of spiritual unrest, a concept in Japanese folklore that seemed to resonate with Saudi audiences.
The film’s breathtaking cinematography beautifully contrasts the serene landscapes with the looming, furiously violent storm, underscoring the dynamic between the gentle and the destructive forces of nature.
“The meaning of the narrative is ultimately left to the viewer — whether they experience sadness, love or the echo of an ancient tale,” Masakazu shared. “In the end, it becomes a transmission of culture, a passing down of folklore, all leading back to a shared emotional core. At the same time, I’m interested in how people respond — how a non-Japanese audience might engage with it.”
Japan’s Koji Yamamura brings expertise to Saudi Film Festival masterclass
Updated 20 April 2025
Jasmine Bager
DHAHRAN: Animation lovers attending the 11th Saudi Film Festival this week were treated to a masterclass by Oscar-nominated Japanese director Koji Yamamura.
Yamamura gave a masterclass titled “Giving Shape to Invisible Light” on Saturday.
While the Saudi Film Festival typically focuses on local and regional cinema, it also offers audiences a chance to engage with global voices. This year, Japan holds a special place in the lineup, with the festival running until April 23.
Masterclass attendees watched as Yamamura explained his process and shared several of his shorts, which he dissected, offering guidance and insight into his creative approach.
Yamamura, regarded as one of Japan’s most successful animation filmmakers, began creating films at just 13 years old. After six painstaking years and thousands of drawings, his 10-minute 2002 film “Mt. Head” earned him an Oscar nomination in the Best Short Film category.
The story follows a man who eats cherry pits to avoid waste, only to have a cherry tree sprout from his head. What begins as a nuisance quickly escalates into chaos as strangers flock to picnic and swim atop his head.
Narrated in the traditional rakugo style — with a single voice and sparse instrumentation — the work blends classical storytelling with modern themes. Beneath the dark humor lies a critique of isolationism, environmental degradation, and the illusion of control. The more the man tries to resist change, the more disorder he invites, leading to a haunting end.
Yamamura explained that many of his works were inspired by traditional tales that are over 150 years-old—stories where the beginning and end are already known — so the creative challenge lies in how he fills the space.
His work moves fluidly between absurdity and clarity, often occupying a Kafkaesque space that encourages the viewer to dive in until the narrative fully takes hold.
After the masterclass, he sat down to answer questions by moderator Naoures Rouissi of the Arab Film Festival Zurich, and the audience was invited to take part in a Q&A portion.
Abdulrahman Al-Qarzaee, a fluent Japanese speaker who is Saudi, translated.
“I’m very interested in Arabic culture. It is my first time in Saudi Arabia — I would like to sketch it. I think the landscape is very different from Japan,” Yamamura told Arab News after the session.
When Arab News asked if he might create a new work inspired by his visit to the Kingdom, he didn’t hesitate.
“Probably, yeah. This is a very special and different experience for me,” he concluded with a smile.
DUBAI: A sequel is already in the works for “Esaaf” (“Ambulance”), the new comedy starring Saudi actor and stand-up comedian Ibrahim Al-Hajjaj and directed by British filmmaker Colin Teague.
The film premiered on Tuesday, making history as the first Arabic-language movie to be released by Imax.
The plot revolves around two Saudi paramedics who discover a briefcase containing holding SR2 million (around $533,300) and find themselves caught up in a dangerous kidnapping scheme.
The movie is written by Alberto Lopez and produced by Al-Hajjaj’s House of Comedy, Saudi producer Talal Anazi’s Black Light Operations and former MBC Studios chief Peter Smith in tandem with Saudi Media Company.
The film marks Al-Hajjaj’s first major release since “Sattar,” the 2023 wrestling film which grossed over $30 million, primarily from Saudi audiences.
Princess Rajwa, Prince Hussein visit historic site in Jordan
Updated 19 April 2025
Arab News
DUBAI: Princess Rajwa Al-Hussein of Jordan opted for a relaxed look this week when she visited the archaeological site of Umm Qais with her husband, Crown Prince Hussein bin Abdullah.
Rajwa, who is of Saudi origin, wore beige Atelier canvas straight-leg cargo pants by Jacquemus, paired with a black fitted top and matching Prada re-edition 2005 nylon bag. She completed her look with Gentle Monster’s Musee 01 sunglasses.
The crown prince also kept it casual in a plain white T-shirt, olive green cargo shorts and sunglasses.
Bin Abdullah took to Instagram to share a heartwarming photo with his wife taken during their visit.
“There is nothing like spring in the north of Jordan,” read the caption.
The couple also made headlines this week as their eight-month-old daughter, Princess Iman bint Al-Hussein, marked a significant milestone when she accompanied them to the Kingdom of Bahrain on her first official overseas visit.
The young princess was received by Bahrain’s King Hamad bin Isa Al-Khalifa at Al-Sakhir Palace. (Instagram)
The young princess was received by Bahrain’s King Hamad bin Isa Al-Khalifa at Al-Sakhir Palace.
Princess Rajwa opted for a white-and-blue ensemble from London-based fashion label Erdem for the occasion. This included a floral midi pencil skirt and a draped short-sleeved top. She completed the look with white lace slingback pumps from Manolo Blahnik and a Jacquemus shoulder bag.
Last month, Crown Prince Hussein took to Instagram to mark Mother’s Day with a heartfelt tribute to his mother, Queen Rania, and Princess Rajwa.
In the first of two images, Queen Rania is holding her granddaughter, Princess Iman, as the crown prince watches on.
In the second image, Princess Rajwa, dressed in a plain white t-shirt, is seen holding her daughter.
“To my beloved mother and my loving wife, your presence fills our lives with joy, and your love is the true meaning of giving. Happy Mother’s Day,” he wrote.
The royal couple welcomed Iman in August last year.
They are also active in their humanitarian efforts. During Ramadan, they visited the Children’s Museum Jordan to attend an iftar event with orphans.
They spent time with the children, playing games, sharing a meal and engaging in conversation. The couple also posed for photos with the young attendees.
Art Dubai’s 18th edition marks UAE’s rise as key market for contemporary art
Latest edition of the region’s leading contemporary art fair presented high-quality works from around the world, cementing the Gulf metropolis as a key market player
Updated 20 April 2025
Rebecca Anne Proctor
DUBAI: The Madinat Jumeirah is alive once again with the invigorating buzz of collectors, artists, gallerists and art lovers all gathered for the 18th edition of Art Dubai, which runs until April 20. There is the familiar sound of a multitude of languages and accents, reflecting Dubai’s ever-growing international population as gallerists from around the world, including North America, China, South and Central Asia, Africa and from across the Middle East, showcase works that reflect the artistic breadth and culture of their respective countries.
Of note are the 30 new exhibitors at Art Dubai, hailing from around the world, forming part of the 120 galleries taking part this year. The quality of works on display, underlined artistic director Pablo del Val, are particularly noteworthy this year and, he says, evoke a sense of escapism and surrealism as if to provide refuge from the uncertainty of today’s times.
Abdullah Al Othman, Manifesto: the Language & the City II, 2025 for Art Dubai. Courtesy Artist and Iris Projects. (Photo credit Mustafa Aboobacker for Seeing Things)
The quality of works and international range of galleries also reflect the changing nature of Dubai.
Rather than take up residence in Dubai for a short-term period of a few years, new residents are coming to the city with plans, it seems, to stay for longer. At the same time, there has been notable investment in cultural infrastructure within the UAE that is now paying off, resulting in a plethora of new museums, galleries, institutions and initiatives offering visitors to Art Dubai a wealth of cultural activities outside the fair.
A view of Efie Gallery’s booth at Art Dubai. (Courtesy of Efie Gallery)
“Today there is a change in the architecture (of Dubai), with residents desiring more state-of-the-art homes with more space,” del Val told Arab News. “When these people move to Dubai they are doing so with a long-term version. This gives a sense of stability to the city and necessitates a different kind of art collecting.”
Among the newcomers to the fair was Richard Saltoun Gallery, which has branches in Rome, London and New York.
“This will be our first participation at Art Dubai and we are thrilled to be participating. Dubai, and the UAE in general, is one of the most interesting and growing markets that we work with,” Niamh Coglan, sales director at Richard Saltoun Gallery, told Arab News. “The institutional collections, foundations and private collections are curious, active and engaging to work with. Having worked with several major museums and foundations over the past few years in the region, we knew we had to take a more active role and be more present.”
Abdullah Al Othman, Manifesto: the Language & the City II, 2025 for Art Dubai. Courtesy Artist and Iris Projects. (Photo credit Mustafa Aboobacker for Seeing Things)
Among the artists the gallery will show at the fair is Mozambican modernist Bertina Lopes, whose work is on display in the exhibition Kings and Queens of Africa at the Louvre Abu Dhabi.
Among the notable works at the fair was a large 196 x 363 cm painting by the late Iranian artist Bahman Mohassess and New York-based Leila Heller Gallery’s booth portraying two abstract figures locked in a passionate embrace, one colored red and the other off-white next to a group of stones and an abstract black bird flying overhead. The work, which has garnered great interest among collectors, is being sold for $2,650,000.
In the Bawwaba section of specially commissioned works for the fair, Saudi artist Abdullah Al-Othman is showcasing a solo project in the form of a large installation work of signs, symbols and photography from around Riyadh as part of his series Manifesto: the Language & the City (2011). The work is being displayed through Iris Art Projects, the only GCC gallery exhibiting in the section.
Showcasing works from the African continent and diaspora is Efie Gallery, a Dubai-based gallery that recently moved to Alserkal Avenue. The gallery’s booth presented a mixed media presentation that is thoughtfully and serenely curated featuring works by Abdoulaye Konate, Maria Magdalena Campos-Pons, Hugh Findletar and J.K. Bruce Vanderpuije.
A view of Efie Gallery’s booth at Art Dubai. (Courtesy of Efie Gallery)
“We love being in the Middle East and Dubai because it has offered us a clean slate as opposed to the West, where we need to deconstruct narratives,” said co-founder of the gallery Kwame Mintah. “Here we are offered the space to construct the narratives.”
