Inside ‘Paranormal,’ Netflix’s new Arabic series

“Paranormal” is on Netflix. (Supplied)
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Updated 06 November 2020
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Inside ‘Paranormal,’ Netflix’s new Arabic series

  • The creator and stars of the Egyptian drama on adapting a beloved literary series for the small screen

DUBAI: In 1993, Egyptian filmmaker Amr Salama, then just 11 years old, decided that — for the first time in his life — he was going to read a book for fun. It was written by famed Egyptian author Ahmed Khaled Tawfik, part of his 81-book series “Ma Wara’a Al Tabiei,” and told the story of a hapless hematologist named Dr. Refaat Ismaeil and his interactions with the world of the supernatural. Salama’s life would never be the same.

Tawfik’s novels helped Salama discover his love of storytelling, and it is a gift he’s never forgotten. Becoming an acclaimed storyteller in his own right, helming acclaimed films including “Asmaa” (2011) and “Sheikh Jackson” (2017), Salama made it his mission to bring the beloved book series to the small screen, toiling obsessively behind the scenes to bring “Paranormal,” as it’s called in English, to life.

“I was basically carrying the show on my back,” Salama tells Arab News. “I reached out to Dr. Tawfik and got the rights from him. I went around trying to convince different networks and buyers to buy the show.”




“Paranormal” is directed by Egyptian filmmaker Amr Salama. (Supplied)

Salama and his producing partner and founder of Film Clinic, Mohamed Hefzy, brought the idea to Netflix, which at the time was looking to start producing original content in the Arab world. The two wanted to do it properly, making a world-class series with the budget Tawfik’s great work deserved. Netflix agreed and, after two years of work, “Paranormal” has become a reality.

“We wanted to make this fantastic book series into a TV drama, and we had no idea how to do it. The market was not ready for such a production,” says Hefzy. “(Netflix coming on board) really was the beginning of making the dream come true. It's been a very long journey, but I think worth the wait because we learned a lot. This is a show that we could not have made earlier because just there's no way that we could have done something of that magnitude, in terms of production execution, challenges, and the freedom to risk so much on the idea. No Arab broadcaster or streaming service would have taken such a risk on a property of such size and that budget and with a genre which is untested in Arab drama and Egyptian drama.”

Rather than try to update the series to a modern setting, Salama and his team painstakingly recreated the Cairo of the 1960s — replicating everything from the fashion, the contemporary language, and the very streets themselves.




Amr Salama and his producing partner and founder of Film Clinic, Mohamed Hefzy, brought the idea to Netflix. (Supplied)

“I had a visual plan and a particular mood that I wanted to create. It was very hectic, and there was huge attention to detail,” Salama says. “Each department in the show (put in a) great effort. Cairo is a dynamic city that seems to transform every month. Ninety percent of the accessories that were used in the show our production designer Ali Hossam Ali had to create himself. We also spent a lot of time watching Sixties movies to be able to translate their way of speaking, how they greeted each other or said goodnight. Sometimes even one word can make a difference. It was a journey, but we were able to execute everything that we imagined for the show.”

Salama also leaned on Emirati filmmaker Majid Al-Ansari, who helmed the acclaimed 2015 film “Zinzana,” with the two splitting the load behind the camera.

“One of the blessings of this show was meeting Majid Al-Ansari. I had already seen ‘Zinzana’ and when we first were introduced to each other we found that we have a similar movie taste. It was a match made in heaven. When Majid first came to Egypt, he knew that there would be a difference in culture, but he adapted very quickly in just a matter of days. It was an amazing experience. He’s an amazing human being. Artistically, he added a lot to the project,” says Salama.




To play the lead role of Refaat Ismaeil, Salama selected Egyptian comedy actor Ahmed Amin. (Supplied)

Choosing how to present Tawfik’s beloved books not only to devoted fans, but also to new audiences from across the world was just as tough a task. Even selecting which books of the 81 to pull from was overwhelming. Salama chose to not attempt to be all things to all people, instead focusing on living up to the expectations of the one fan who he’s been trying to please the longest — the 11-year-old boy who first fell in love with Tawfik’s world.

“The biggest variable was my personal love for particular stories, and which ones still linger in my mind until today,” Salama says. “And since this will hopefully get to people across the world, we wanted to choose stories that are more authentically Egyptian and tied to our culture. They might be more challenging to execute, but we were effectively able to do it. In the end, the novels are already there and whoever wants to read them can read them. What I’m giving them is my own personal vision as a producer, director, and artist. That translation might appeal to some people but not to others. That’s why you have to be very true to yourself about the vision that you have.”

To play the lead role of Refaat Ismaeil, Salama selected Egyptian comedy actor Ahmed Amin, renowned for his viral videos and award-winning TV show “Al Plateau.” While “Paranormal” is a step in a completely different direction for Amin, the character is one he has dreamed of playing since he was a boy, and one he put a lot of pressure on himself to play well.




Salama and his team painstakingly recreated the Cairo of the 1960s — replicating everything from the fashion, the contemporary language, and the very streets themselves. (Supplied)

“I have loved this character since I was 13 years old,” Amin tells Arab News. “The most paranormal thing that happened to me is that I was actually able to portray him when I reached the age of 40, similar to the age of the character. I felt like I had a huge responsibility towards the readers and towards the Netflix audience and towards drama itself.”

For Razanne Jammal, the British-Lebanese actress who plays Maggie Mckillop — Ismaeil’s schoolmate-turned-colleague and love interest  — the pressure that each of them put on themselves to bring this iconic series to life paid off, and translated into the most rewarding experience of her career.

“I've never in my life been on a set that was so harmonious. There were as many women as men; it was a very cooperative spirit. Everybody was helping each other, and everybody was so passionate. It was so important to us that our hard work comes across on screen,” says Jammal.

While Tawfik sadly passed away in 2018 at the age of only 55, the cast and crew of “Paranormal” — some of his biggest fans — have done all they can to do justice to his legacy. Now, as the show debuts on Netflix, audiences around the world will finally discover the world he created.   


Princess Rajwa visits art gallery in Amman with Queen Rania

Updated 25 November 2024
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Princess Rajwa visits art gallery in Amman with Queen Rania

  • Visit marks another public engagement in Princess Rajwa’s calendar
  • Naqsh Collective was founded in 2009 by two sisters, Nisreen and Nermeen Abudail

DUBAI: Saudi-born Jordanian royal Princess Rajwa Al-Hussein visited Amman-based art gallery Naqsh Collective on her first joint engagement with her mother-in-law Queen Rania, on Sunday.

“Exquisite local designs, handcrafted with love. Had a lovely time with Rajwa at the Naqsh Collective workshop yesterday,” Queen Rania’s team posted on Instagram shortly after the visit.

The pair posted in front of an artwork titled “Wall Runner” at the gallery, which presents design works and artworks.

Naqsh Collective was founded in 2009 by two sisters, Nisreen and Nermeen Abudail. The gallery has participated in national and international events such as Milan Design Week, Amman Design Week, Design Days Dubai, and Saudi Design Week.

The visit marks another public engagement in Princess Rajwa’s calendar. Last week she attended a ceremony marking the inauguration of the first ordinary session of the 20th parliament in Amman, her second public appearance since the birth of her first child this summer. 

The royal showed off an elegant black ensemble for the occasion, complete with an oversized belt by Dior and pumps by Chloe. The look was finished off with the Goji mini bag in black by Jill Sander. 

Princess Rajwa was photographed alongside Queen Rania, who showed off a red look courtesy of Maison Valentino and Altuzarra. 

Princess Rajwa made her first public appearance since the birth of Princess Iman bint Al-Hussein bin Abdullah II at a 2026 FIFA World Cup qualification match in October. 

The royal welcomed her first child, Princess Iman, with Crown Prince Hussein bin Abdullah on Aug. 3.

Jordan’s King Abdullah posted a tribute to his granddaughter on social media to mark the occasion. Translated from Arabic, the post read: “I thank God for giving us our first granddaughter Iman bint Hussein. I congratulate beloved Hussein and Rajwa for their newborn.”

Princess Rajwa, who celebrated her 30th birthday in April, is the daughter of Saudi businessman Khalid bin Musaed bin Saif bin Abdulaziz Al-Saif, who died in January this year, and his wife, Azza bint Nayef Abdulaziz Ahmad Al-Sudairi.


Ithra conference in Saudi Arabia shines spotlight on vibrant Islamic arts

Updated 25 November 2024
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Ithra conference in Saudi Arabia shines spotlight on vibrant Islamic arts

  • Conference seeks to highlight how traditional crafts can inspire innovative solutions in areas such as design, business and urban development
  • Adding to the immersive experience, three specially curated films explore the artistry and history of Islamic crafts

DHAHRAN: The King Abdulaziz Center for World Culture, also known as Ithra, is hosting the second Islamic Art Conference from Nov. 25-30.

In partnership with the Abdullatif Al-Fozan Award for Mosque Architecture, the theme of this year’s event is “In Praise of the Artisan.” Featuring 50 participants from 14 countries, including 27 distinguished speakers, the conference will explore the connection between heritage and innovation in Islamic art.

From panel discussions to live demonstrations, and with a diverse lineup of artists, historians, curators and academics, the program offers attendees an opportunity to engage with the artistry and history of Islamic craftsmanship.

There are thought-provoking lectures, hands-on workshops and interactive demonstrations, all designed to immerse visitors in the beauty and intricacy of Islamic art forms. A central theme this year is the vital role played by artisans in preserving cultural heritage while adapting to contemporary challenges.

Through these discussions, the conference seeks to highlight how traditional crafts can inspire innovative solutions in areas such as design, business and urban development.

Running alongside the event is the “In Praise of the Artisan” exhibition. This display of historical artifacts and contemporary works highlight the timelessness of Islamic artistry through media ranging from ornate wood carvings and luminous textiles to intricately painted ceramics and dazzling metalwork. For those eager to learn skills for themselves, there are workshops on crafts such as embroidery, wood carving and sailboat crafting.

Adding to the immersive experience, three specially curated films explore the artistry and history of Islamic crafts, delving into the lives of artisans and the cultural significance of their work. Each screening is followed by a discussion with the filmmakers.

Beyond the main exhibition, Ithra’s plaza will host eight mini-exhibits in collaboration with institutions such as The Heritage Commission, The Royal Institute of Traditional Arts, and The General Authority for the Care of the Two Holy Mosques. These highlight regional crafts from across the Islamic world, such as Turkey and Egypt, emphasizing the event’s global nature.

Prominent voices such as Dr. Mashary Al-Naim, Dr. Mahmoud Erol Kilic and artist Ahmad Angawi will lead debates on the challenges and opportunities artisans face in preserving their crafts in an era dominated by mass production. Topics will include the integration of craftsmanship into modern business models and the role of artisans in sustainable urban development.

The conference also emphasizes the potential of traditional crafts to drive social change. By fostering collaboration between artisans, designers and cultural institutions, it creates pathways for them to thrive in contemporary markets while maintaining their historical integrity.

One highlight is the work of Dhai Ibrahim Al-Otaibi, a rising star in the art of Naqda embroidery. Known for her innovative approach, Al-Otaibi blends the opulence of traditional silver and gold threads with modern fashion aesthetics.

“Naqda embroidery signifies a critical aspect of Saudi cultural identity, especially in the Eastern and Central regions,” Al-Otaibi told Arab News.

“By reinterpreting these methods, I hope to make this craft more accessible to new generations while preserving its authenticity.”

Al-Otaibi began her journey as an apprentice under the guidance of artisan Sarah Al-Dosari and is one of only 14 of Naqda embroidery practitioners in Saudi Arabia. Her contributions to the exhibition not only show her personal artistry but also underscore the enduring relevance of this centuries-old craft.

“In Praise of the Artisan” will continue at Ithra until December 2027, providing plenty of opportunity to experience the splendor of Islamic arts and their evolving role in a modern world.


Guerlain perfumer talks Arab perfume traditions in Riyadh 

Updated 25 November 2024
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Guerlain perfumer talks Arab perfume traditions in Riyadh 

RIYADH: Thierry Wasser, the in-house perfumer of French luxury beauty brand Guerlain, sat down with Arab News on a recent visit to Saudi Arabia to talk all things fragrance at the reopening of the flagship Guerlain boutique in Riyadh Park.

The perfumer shared his insights on the differences between typically Middle Eastern scents and their European counterparts and even touched on his previous visit to Taif in the Kingdom, which is famous for its distinct roses grown at high altitudes.

“When you go to each one of these countries, you try to discover what sent speaks for that country,” Wasser explained of his globe-trotting agenda. 

“For example, in Saudi Arabia, I think it's myrrh and I also think it's agarwood. In France, for some reason, I think it's lavender,” he added. 

The perfumer shared his experience of visiting Taif’s 1,800-meter-high Al-Sarawat Mountains, home to the Taif Rose variety, saying “It's a zig zag when you go … sometimes you have a place you don't expect the altitude to be so high.”

With more than 200 perfumes to his name, the perfumer revealed his favorite scent as Habit Rouge by Guerlain, an oriental woody perfume with notes of earth, warm leather, and the forest, launched in 1965 by the iconic Jean-Paul Guerlain.   

“It's like a shining armor. It was a disguise of a man, a manly, masculine disguise. It shaped me. My attitude changed … I kept it all my life like a lucky charm,” he said. 
Wasser's journey with the brand began in 2008, when was appointed as the first non-Guerlain family member to be the in-house perfumer of the storied house founded in 1828. 

“When you manufacture and source it, you get intimate with the formula and the fragrance from your predecessors and you are responsible for the integrity of them,” he said.

“I want to talk about the Middle East and about how perfume is expressed in the Middle East. They have a deep, intense love for very strong fragrances,” he noted, adding that he quickly learned fragrance is typically applied on clothing in the region, as opposed to directly on the skin, which is common practice in Europe. 

“So I changed my approach and I made all my trials on cotton handkerchiefs,” he explained. 

The fragrance house's iconic bee emblem reflects a commitment to sustainability. In 2021, Guerlain became one of the first luxury houses to join the Union for Ethical BioTrade and initiated a verification process for 50 natural ingredients.

“Sustainability is not exactly a marketing tool or communication tool, it is a state of mind,” Wasser said.


Keke Palmer shows off vintage Azzedine Alaia look in New York

Updated 25 November 2024
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Keke Palmer shows off vintage Azzedine Alaia look in New York

DUBAI: US actress and author Keke Palmer made an appearance on “The Drew Barrymore Show” in New York this week wearing a vintage look by late Tunisian couturier Azzedine Alaia.

Hailing from his Spring/ Summer 1986 ready-to-wear collection, the denim power suit featured a cross-body zipper, oversized sleeves and statement lapels.

Based in Paris, Alaia shot to international fame in the early 1980s and was quickly dubbed the “King of Cling.” Alaia won the Designer of the Year and Best Collection of the Year prizes at the Oscars de la Mode by the French Ministry of Culture in 1985.

Palmer showed off the look as she promoted her new book, “Master of Me.”

The “Nope” actress released the book in November and has been promoting the title at various media appearances, including on “The Drew Barrymore Show.”

In a conversation with Barrymore, the pair connected about the experience of being child stars, with Palmer stating “I’m not a victim, I’m a victor” after she praised her parents for supporting her career, which began with 2004’s “Barbershop 2: Back in Business.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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“In her own raw and intimate words, Keke talks about everything from her struggles with boundaries to unconditional love, forgiveness, and worthiness,” the book’s description reads.

“Throughout the book, Keke also poses readers with the questions needed to get them through their own challenging times by sharing personal stories and lessons she’s learned along the way,” the blurb adds.

Palmer also sat down with US Iranian actress Yara Shahidi to discuss the book.

She took to Instagram shortly after the sit down, saying: “One of my favorite girls @yarashahidi discussed the themes of my book ‘Master of Me’ this past week. We had a great conversation in Boston around her old stomping grounds at Harvard! The excitement around the Many Masters Tour and the people I get to speak to is that we learn there are so many unique paths that lead to self-mastery and the exciting part is in creating your own path.”

 

 


‘Disney movies unite us,’ says Louaye Moulayess as he promotes ‘Moana 2’

Updated 24 November 2024
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‘Disney movies unite us,’ says Louaye Moulayess as he promotes ‘Moana 2’

DUBAI: From a young age, Lebanese animator Louaye Moulayess has loved Disney movies.

Speaking to Arab News about his latest project, “Moana 2,” which is released in cinemas in the Middle East on Nov. 28, Moulayess said diverse voice is what makes Disney storytelling so compelling.

From a young age, Lebanese animator Louaye Moulayess has loved Disney movies. (Supplied)

“We all grew up with different kinds of stories told to us, right? I grew up with specific Lebanese stories. For example, if I turned on the TV in Lebanon as compared to somebody in Lisbon, for example, we’re going to watch different things. Our sensibilities are going to be a bit different. Now we all have something in common, which is Disney movies,” he told Arab News.

At a time when his home country, Lebanon, is defending against Israeli attacks, US-based Moulayess finds comfort in his work and storytelling. “It all comes back to the stories my grandparents and parents told me,” he said, adding that Disney movies have always brought him hope.

“Moana 2,” set in ancient Polynesia, picks up three years after the events of the 2016 original. Moana (voiced by Auli’i Cravalho) receives an unexpected call from her wayfinding ancestors and forms her own crew to travel the vast seas of Oceania, reuniting with her shapeshifting, magical friend, Maui (Dwayne Johnson).

“I loved the first movie. When I started working on ‘Moana 2,’ I felt like I already knew the characters very well. So, I knew Moana and I knew Maui … I knew how they moved, I knew what their personalities were. But, at the same time, they became somebody else three years after.

“So, the challenge was a bit different compared a new movie, where we would have had to figure out the characters and how they moved and how they behave. The challenge here was, I know this character, but this character has changed. How do we make it new and find the specificity of this new personality?” Moulayess said.

When asked what sparked his interest in animation, Moulayess pointed to Disney again. “I think the moment I made my decision was after watching ‘Lion King.’ Like the first sequence of the ‘Circle of Life,’ after that when everything goes black and you see the title of the movie. It really shocked me in the best way. I was like, ‘Who is this Walt Disney?’ I thought it was one person doing this back when I was a kid, because I saw the name Walt Disney. I was like, ‘It must be one person doing this.’ And I decided I’d do this one day. So, this is what triggered everything. And slowly, I just gravitated towards animation,” he said.

Now based in Burbank, California, Moulayess left Lebanon for the US as a young student.

“In Lebanon, when I graduated high school, I looked around for majors that had animation, but back then, there wasn’t anything available. Now there are a couple schools that offer animation majors.

“Back then, I knew I had to leave to make my studies, so I went to San Francisco and joined a school called Academy of Art University in San Francisco,” Moulayess said.

After four years of university, Moulayess landed himself an internship with Pixar Animation Studios. “I was very, very lucky that I did an internship there, where I worked on ‘Cars 2,’” he said.

From there, he moved on to Blue Sky Studios for “seven wonderful years,” working on the “Ice Age” films, “The Peanuts Movie” and “Ferdinand,” before making his way to Disney in 2019, working on “Frozen 2” before taking on “Raya and the Last Dragon.”