‘For film, Saudi Arabia is the land of opportunity,’ says Saudi producer Mohammed Al-Turki

Mohammed Al-Turki is a renowned Saudi film producer. (Supplied)
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Updated 25 March 2021
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‘For film, Saudi Arabia is the land of opportunity,’ says Saudi producer Mohammed Al-Turki

  • The Saudi producer had to go to Hollywood to make his name. Now, he’s excited about the Kingdom’s booming movie-making industry

DUBAI: When Saudi Arabia lifted its 35-year ban on cinemas nearly three years ago, a love affair with film was not born on that day — it was validated. Before Saudi became the only theatrical market to grow in the time of COVID-19, before its shooting locations became the talk of the filmmaking world, the Kingdom had long been home to some of the most passionate film buffs in the world, who watched films on MBC 2 day and night, who traded VHS tapes of new releases, and who, if they wanted to pursue that passion, had one choice: To make a name for themselves in Hollywood. 

Mohammed Al-Turki, the renowned Saudi film producer behind such films as “Arbitrage” (2012) starring Richard Gere; “99 Homes,” (2014) starring Michael Shannon; and the upcoming “Crisis,” starring Gary Oldman, followed exactly that path. 




Al-Turki is currently working on a film about a young Saudi woman and, according to the filmmaker, it is coming together quickly. (Supplied)

“Even though it was outside the norms to do that as a Saudi when cinemas were banned, my family was always very supportive of my dream. When I had the opportunity to work on my first film with Zeina Durra in 2010, they pushed me to do it, thinking that it was would fulfil that hobby, then I would fail and come back home to Saudi and work a nine-to-five job,” Al-Turki tells Arab News. “Their plan didn’t work.”

As Al-Turki sat as a special guest in the audience on that historic night in Riyadh when cinemas reopened, he couldn’t help but think about the boy he had been, who first fell in love with film in the Eastern Province of Saudi Arabia, who would rent out his VHS and LaserDiscs from his school’s parking lot, who dreamed of making his own one day, something he never thought he’d be able to do in his home country. Now, finally, that landmark on the horizon.  

Al-Turki is currently working on a film about a young Saudi woman and, according to the filmmaker, it is coming together quickly.




Mohammed Al-Turki, the renowned Saudi film producer behind such films as the upcoming “Crisis,” starring Gary Oldman. (Supplied)

“We’re working on it now. I'm excited about it. I know it's going to be challenging. We still need to find the perfect hero. Nevertheless, I think we will be able to come through with this. Like everything in Saudi, there is excitement around it, and the people that I'm working with want this sooner rather than later. Hopefully we'll be able to deliver within the timeframe that they want,” Al-Turki says.

The producer sounds a bit stressed, and that’s understandable. The current pace in the Saudi film world, according to Al-Turki, is frenetic. 

“Everybody is looking at Saudi right now — in terms of film — as the land of opportunity. The competition is high. It's great, but the challenge has become way tougher. Because it's a new market, it's like the Wild West, and it can be hard to know who is there for the long run, or who is in there for the short-term,” he says.




Al-Turki poses with Gary Oldman and Toni Garrn. (Supplied)

While some short-term players have popped up on a small scale, the biggest productions, and the longest-term investments, have come from the heavy hitters of both the region of the world. Saudi entertainment giant MBC has invested enormously in producing more homegrown content in the Kingdom, often competing for the same talent as global players such as Netflix, which has signed long-term deals with Saudi production companies such as Telfaz11.

“As an entertainment industry, we will see a lot of different material coming out of Saudi, so it is an exciting time. But then, it’s a big challenge for players like me who have been doing this for over a decade. Before, I had a lot of time to look at a project and to relax, but now you really need to focus and see what's next and just jump on it. You don’t have time to waste,” says Al-Turki.

He has chosen to focus on the story of a young woman because, besides being a social issue close to his heart, it’s also the issue most closely intertwined with Saudi’s burgeoning film story. It was Haifaa Al-Mansour who put modern Saudi cinema on the map with “Wadjda” in 2012 —the story of a young girl and her bicycle. And when Saudi Arabia ramped up its efforts to move the Kingdom forward, it was film and women’s rights that came to the forefront together.




Al-Turki poses with Nadine Labaki. (Supplied)

“I would like to show the human aspect of Saudi Arabia, bringing human stories, simple stories, about the challenges that people face in Saudi and the region. ‘Wadjda’ was a great example, tackling a story of women back before the positive and apparent change in Saudi with Vision 2030,” says Al-Turki.

In addition, Al-Turki would like his Saudi films to follow the lessons of African-American culture in the United States, which has produced films in Hollywood that center around blue-collar and working-class folks and their everyday struggles.

“There are great films such as ‘Soul Food’ or ‘Barbershop’ that focus on everyday aspects of life in the African-American community. Saudi Arabia and the Middle East have a lot elements like that that can be portrayed in film. There are a lot of different ways to show universal elements of a particular culture that people anywhere can all relate to — in Utah, or London, or anywhere. That’s the power of cinema,” says Al-Turki.




The current pace in the Saudi film world, according to Al-Turki, is frenetic. (Supplied)

It’s not only international filmgoers who Al-Turki believes will be interested in different kinds of Saudi stories — it’s the Saudi people themselves who he thinks are hungry for different kinds of films. One of the biggest misconceptions that Al-Turki has found is regarding the types of films that can do well in the Kingdom. In his eyes, the Saudi people have a very diverse taste, loving not only the biggest movie stars and action blockbusters, but also having an appetite for smaller, more art-focused content, that has a strong social message.

“In terms of the audience here in Saudi, I think the experience is the best in the region. People actually go to the cinema to watch films. It’s a new experience for many, of course, so they're really there to watch,” says Al-Turki.




Al-Turki poses with Richard Gere. (Supplied)

That gives the producer hope that when his latest film “Crisis,” already an indie hit outside of the region and focusing on the horrors of the opioid epidemic in the United States, will find an audience when it opens in Saudi Arabia on April 1, the first film he’s made that he’s been able to release in his home country. 

It’s a milestone he’s not taking lightly. He’s currently in the final stages of planning a red-carpet event with a Q&A involving both him and members of the cast in Riyadh.

His hope is that one of the young Saudi attendees might be inspired to pursue a similar path to his own, though they may not have to go to the other end of the earth to then eventually succeed back home.

“I think, in a few years, we will see a lot of great talents coming from Saudi,” says Al-Turki.


Emirati artists perform in showcase at London’s Kensington Palace

Updated 07 June 2025
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Emirati artists perform in showcase at London’s Kensington Palace

LONDON: “If we do not tell our story, someone else will. And they will get it wrong,” said Huda Alkhamis-Kanoo, founder of the Abu Dhabi Music & Arts Foundation, following a performance in London on Friday that brought Emirati talent to a major international platform.

Emirati artists took to the stage at Kensington Palace to present a night of operatic performances. Fatima Al-Hashimi, Ahmed Al-Housani, and Ihab Darwish performed in multiple languages including Arabic, Italian and English. The performance was part of the Abu Dhabi Festival’s Abroad program in collaboration with the Peace and Prosperity Trust. The event was intended to promote Emirati cultural expression through classical music and cross-cultural collaboration.

Fatima Al-Hashimi, Ahmed Al-Housani, and Ihab Darwish performed in multiple languages including Arabic, Italian and English. (Supplied)

Alkhamis-Kanoo said an event like this is vital for cultural diplomacy and is not a one-off, but a commitment to placing Emirati talent on the world stage. 

“It’s about creating understanding, building dialogue, and showing the world the strength of our cultural identity through music,” he explained. “We invest in the young, we partner with the world, and we build cultural legacies that last.” 

The evening also included the premiere of Darwish’s latest composition “Ruins of Time,” which blended orchestral arrangements with traditional Arabic elements.

“Music is the fastest way to reach people. It creates peace, it creates understanding,” Darwish told Arab News. “Music removes boundaries. It creates a shared language, a dialogue of coexistence, peace, and tolerance. When people from different cultures come together to create music, it naturally fosters mutual understanding.”

Al-Hashimi explained the intention behind adapting a classical repertoire to reflect Arab identity. “Even while singing in Italian, I included Arabic lyrics to keep our signature present,” she said.

Al-Housani described the event as a “professional milestone,” adding: “Performing here is more than a concert, it’s a message. We’re here to show the world the strength and beauty of our culture.”


As goats get pricier, Pakistan’s capital turns to falooda dessert to keep Eid Al-Adha spirit alive

Updated 07 June 2025
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As goats get pricier, Pakistan’s capital turns to falooda dessert to keep Eid Al-Adha spirit alive

  • Falooda is made with vermicelli in cold milk, softened basil seeds and generous scoops of vanilla or kulfi ice cream
  • Final touch is a fragrant pour of rose syrup, turning concoction into a pink-hued celebration of summer and Eid

ISLAMABAD: With sacrificial goats commanding million-rupee price tags this Eid Al-Adha, many in Pakistan’s capital are seeking solace not in the livestock markets, but in a humbler tradition: a chilled bowl of falooda — a silky, rose-scented dessert layered with ice cream, nostalgia, and just enough sweetness to lift a heat- and inflation-weary soul.

A dessert with Persian roots, falooda made its way to South Asia during the Mughal era, evolving from a frozen, rose-infused noodle pudding in Iran to the vibrant, multi-textured treat beloved across Pakistan today.

At its best, falooda is an edible symphony, a tangle of thin vermicelli swimming in cold milk, softened basil seeds (tukhmalanga) floating like miniature pearls, and a generous scoop of vanilla or kulfi ice cream crowning the glass. The final touch is a fragrant pour of rose syrup, turning the whole concoction into a pink-hued celebration of summer — and now Eid.

Nowhere is this more evident than at Bata Kulfi Falooda, a small, family-run dessert shop in Islamabad’s bustling I-8 Markaz marketplace.

There, amid the clatter of spoons and the hum of Eid shoppers, customers line up for what’s become a seasonal staple, the shop’s signature Matka Falooda, served in traditional clay bowls that keep the dessert ice-cold, even under the blazing June sun.

“We first opened in Peshawar [northwestern city] in 1962,” said Shah Faisal, the shop’s manager, as he rushed between customers to take orders. “In 2015, we brought the same taste to Islamabad. Nothing has changed. The ingredients, the method, even the feel of it, it all comes from Peshawar.”

During Eid week, Bata Kulfi Falooda’s signature Matka Falooda becomes more than a dessert. It’s a celebration in a bowl.

“It’s a memory in every bite,” said Muhammad Kamil, a 27-year-old student who had just returned from a livestock market, saying he was stunned by the jaw-dropping prices.

“Right at the entrance, we saw a goat priced at Rs1.5 million [$5,350]. A little further in, there was a sheep for Rs2 million [$7,140],” Kamil said as he waited for his bowl of falooda.

“After seeing a goat worth Rs1.5 million, only ice cream could cool us down, otherwise it would’ve been hard to keep the spirit of sacrifice alive.”

Determined to celebrate in his own way, Kamil turned to falooda, at a far more palatable Rs450 ($1.60) per bowl.

What drew him in, he said, was the comforting presentation: the cold earthen bowl, the soft noodles slicked with syrup, and the melting scoop of ice cream sinking slowly into the milky depths. He’s even considering gifting bowls of it to friends this Eid.

Indeed, with families across Islamabad and beyond rethinking how to celebrate Eid this year, it may not be the size of the goat that sets the mood but rather the shared sweetness of something simple, familiar, and deeply rooted in tradition.

So, while this Eid may see fewer families walking home from markets with goats in tow, many are still finding ways to savor the spirit of the season with a humble bowl of falooda, which is doing more than just cooling people down — it’s lifting spirits, one spoonful at a time.

According to shop manager Faisal, falooda easily outpaces even their famous kulfi in popularity during the Eid holidays.

“In this heat and with everything getting so expensive, people still want something festive,” he said. “And falooda brings joy that doesn’t cost a fortune.”


Andria Tayeh nominated at Austrian Film Award

Updated 07 June 2025
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Andria Tayeh nominated at Austrian Film Award

DUBAI: Lebanese Jordanian actress Andria Tayeh has been nominated for best supporting actress at the Austrian Film Award for her role in “Mond.” 

The ceremony is scheduled to take place from June 12 to June 15.

Tayeh shared the news with her followers on Instagram, thanking her supporters and the awards organization for the recognition.

She is nominated alongside Italian actress Gerti Drassl and Austrian actress Maria Hofstatter.

“Mond” is directed by Austrian filmmaker Kurdwin Ayub. The film follows former martial artist Sarah, who leaves Austria to train three sisters from a wealthy family in the Middle East. 

What initially appears to be a dream job soon takes a darker turn: The young women are isolated from the outside world and placed under constant surveillance. They show little interest in sports — raising the question of why Sarah was hired in the first place.

Tayeh plays the role of Nour, one of the three sisters. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Andria Tayeh (@andria_tayeh)

The actress, who is also known for her roles in Netflix’s hit series “Al-Rawabi School for Girls,” has had a busy year collaborating with multiple brands and fronting their campaigns.

In February, Giorgio Armani announced her appointment as its new Middle East beauty ambassador.

She took to Instagram to express her excitement: “I am thrilled and honored to embark on this new journey with Armani beauty. This marks a real milestone for me, as the brand embodies values I have always cherished: timeless elegance, dramatic simplicity, and women empowerment.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Andria Tayeh (@andria_tayeh)

That same month, she was named the first Middle Eastern ambassador for French haircare brand Kerastase.

In a promotional clip, she appeared in an all-white studio, answering questions about why she is the ideal Kerastase ambassador. Tayeh spoke in a mix of English, Arabic and French, playfully flipping her hair for the camera as she discussed her dedication to maintaining healthy hair.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Andria Tayeh (@andria_tayeh)

In March, she also fronted Armani’s Ramadan campaign, set against the backdrop of a desert landscape.

Draped in a flowing emerald-green abaya, Tayeh was seen in the video applying the Vert Malachite perfume from Armani Prive as the camera captured the details of the fragrance and her attire. The setting featured sand dunes stretching into the horizon.


Labubu mania sweeps the UAE, CEO of The Little Things says

Updated 07 June 2025
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Labubu mania sweeps the UAE, CEO of The Little Things says

DUBAI: Once just a niche collectible from Asia, Labubus have now become the must-have accessory among youth, influencers and collectors of all ages.

Seen clutched in the hands of BLACKPINK’s Lisa and Rosé, flaunted by Rihanna, and even making cameos in Kim Kardashian’s social media posts, Labubu has found its way into the UAE’s trend-savvy culture.

According to Hassan Tamimi, CEO of The Little Things, the UAE’s official POP MART retailer, the demand for Labubu has reached unprecedented levels.

“Labubu has become more than a collectible here,” Tamimi told Arab News Japan. “It’s a lifestyle statement. We’re seeing people pair them with luxury handbags, sports cars, even use them in wedding shoots.”

But in a region known for its love of luxury and limited-edition goods, the blind box collectible has struck a chord, especially among Gen Z and millennial buyers seeking aesthetic, niche fandom items with resale value.

However, the spike in popularity has brought an unfortunate side effect: a flood of fake Labubu figures infiltrating the UAE market. Counterfeit toys, often dubbed “Lafufu” by collectors, have been circulating online via scam websites and unverified sellers.

“We’ve had several customers walk into our stores with fake Labubus thinking they were real,” Tamimi said. “It’s heartbreaking, especially for those who paid high prices for something inauthentic.”

Tamimi warned buyers to look out for telltale signs: typos on packaging, incorrect paint colors, poor stitching on plushies, or even the wrong number of teeth, authentic Labubu figures always have exactly nine.

To meet the overwhelming demand while keeping things fair, The Little Things has implemented a strict one-piece-per-customer policy. The company has also increased restocking efforts and trained in-store staff to help collectors verify authenticity.

Tamimi also pointed out that Labubu’s appeal lies in the thrill of the hunt.

“The blind box format taps into that collector instinct, there’s excitement, suspense, and FOMO. You never know which figure you’ll get, especially with rarer editions, and that makes each purchase feel like an event,” he told Arab News Japan.

While Labubu has long been a cult favorite in Japan, Tamimi noted that the UAE is quickly becoming a hotspot in its own right. In Dubai and Abu Dhabi especially, Labubu fans are forming communities, trading figures and sharing unboxings and display setups online.

“What’s happening here mirrors what we’ve seen in Tokyo,” he added. “The only difference is access, Japan often gets first dibs on regional exclusives. But that scarcity is part of what makes collecting in the UAE so exciting.”

As for those looking to join the Labubu craze, Tamimi has one piece of advice: stick to official sellers.

“If it’s too cheap or too easy to find online, it’s probably fake. Trust verified stores. The magic of Labubu is in the real thing.”

- This article was first published on Arab News Japan. 


‘The Pakistani Vibe’: Inside the imagined worlds of renowned art director Hashim Ali

Updated 07 June 2025
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‘The Pakistani Vibe’: Inside the imagined worlds of renowned art director Hashim Ali

  • One of Pakistan’s most renowned Pakistani visual artists and art directors, Ali is known for creating visually stunning and intricate sets
  • Ali has worked on some of Pakistan’s biggest music videos and fashion shows, bringing centuries-old aesthetics to modern storytelling

LAHORE: Tucked away in a quiet lane in Pakistan’s cultural capital of Lahore, Hashim Ali’s studio feels less like a workspace and more like a time capsule from the Mughal era.

Large Persian rugs are spread out on the floors and ornate jharokhas overlook walls painted in beige and maroon and covered in wood panels and miniature paintings, creating a world suffused with nostalgia and opulence. Every corner of the studio reflects the vision of an art director who doesn’t just design sets but builds atmosphere. The space is both sanctuary and stage, where centuries-old aesthetics come vividly to life in the service of modern, visual storytelling.

One of Pakistan’s most renowned Pakistani visual artists and art directors, Ali is a Visual Communication Design graduate from the prestigious National College of Arts (NCA) institute in Lahore. Over the years, he has come to be known for his work in fashion, film, and music and is celebrated for his creative vision and attention to detail, particularly in creating visually stunning and intricate sets. His ability to blend historic grandeur with modern maximalism has won him several accolades over the years, including the Fashion Art Director award at the 2024 Hum Style Awards and the Pride of Performance Award in 2021.

In an interview with Arab News at his studio in Lahore’s posh Gulberg neighborhood, Ali, 34, said his passion for visual storytelling came from a history of childhood bullying.

This photo shows a generic view of Pakistani art director Hashim Ali’s studio in a quiet lane in Lahore. (AN Photo)

“When you are bullied, you have to make [up] stories, you have to read stories, so I would get lost in fairytales,” he said.

“I would just start imagining what this world is, what these people are, what is this fantasy that exists out of this world? It started from there.”

The stories he read, full of mythology and folklore, led him to start thinking about his identity as a Pakistani and a South Asian.

“Then I was like, ‘Why can’t we rebuild these memories and these spaces and these places?’”

Pakistani art director Hashim Ali speaks during an interview with Arab News at his studio in Lahore on May 27, 2025. (AN Photo)

Ali’s own studio is a recreation of spaces of the past, a Mughal court in miniature — crafted not from marble and sandstone, but from cardboard, fabric, and imagination. With hand-painted arches, makeshift jalis, and richly colored drapes, the space evokes the grandeur of a bygone empire while laying bare its theatrical artifice. The illusion is deliberate: a paper palace blurring the line between history and performance and reflecting South Asia’s enduring nostalgia for lost splendor and the way identity in the region is often reconstructed through fragments — of memory, of myth, of art.

What one then sees is not just a recreation of the past but a reinterpretation, inviting a dialogue between heritage and reinvention:

“If Hollywood can create all of this [set design] and we think as Pakistanis that we can’t do any of this, then we’re at fault. Because we did create the Taj Mahal. We did create the Lahore Fort … If we could do it then, we can do it now.”

“COMBINED MEMORY”

One of Ali’s most cherished creations was the set for the song “Pasoori,” the first Coke Studio number to hit one billion views on YouTube Music and the most searched song globally on Google in 2022, the year of its release.

Ali, the production designer and art director of the set, crafted it as a communal space, with the bohemian aesthetic of the set, characterized by vibrant colors and eclectic elements, complementing the song’s fusion of reggaeton beats with classical South Asian instruments like the rubab.

This photo shows a generic view of Pakistani art director Hashim Ali’s studio in Lahore. (AN Photo)

Ali describes the aesthetic as “the Pakistani vibe,” exemplified by a new generation that had grown up in the era of globalization and social media and was reclaiming public spaces and dressing up and conducting themselves in ways that merged their cultural heritage with contemporary elements.

“It’s so interesting that now when I’m sitting and I’m scrolling on Instagram or TikTok and I see these reels of girls wearing either ‘saris’ and ‘ghagras’ and they’re dancing in Lahore, in old Lahore,” Ali said.

But the project closest to Ali’s heart is hidden away in the winding, narrow streets of Lahore’s historic Gali Surjan Singh near Delhi Gate. It is a concept store, Iqbal Begum, imagined as a tribute to his late dadi or grandmother, a mathematics teacher who passed away in 2014.

The store has been built in a centuries-old home that Ali rented from a woman who has lived there before the partition of India in 1947 and the creation of Pakistan. The walls are adorned with framed pictures of Iqbal Begum and the shop strewn with things that belonged to her, including old table clocks and dial phones and a tub of Nivea cream, a bottle of Oil of Olay lotion, and a coin purse framed together.

Photo frames of Pakistani art director Hashim Ali’s grandmother hang on one of the walls of his studio in Lahore. (AN Photo)

Ali remembered growing up surrounded by the stories his grandmother told him, including about the violence of the partition.

“She told me a story about how she lost her favorite pen and our house was burned down in front of her eyes and the sense of belonging started happening,” Ali said.

“From that story, this thing of holding on to objects, holding on to people, holding on to stories became very important.”

The concept store is thus not only a way to tell the story of Iqbal Begum but also to create shared memories.

“So, for me, every time I tell a story, I’m passing on my memory to someone else, and when they go and tell someone, in a way, it’s almost like my dadi is still alive,” Ali added.

Pakistani art director Hashim Ali gestures during an interview with Arab News at his studio in Lahore on May 27, 2025. (AN Photo)

And the process is two-way, because people show up with their stories also and can connect with the items they see in the store: “Then it becomes like a combined memory.”

Ultimately, it all connects back to the idea of Pakistan for Ali and to preserving its national, personal and collective histories into tangible, emotionally resonant experience.

“I kind of equated it to the bigger grandparent or the larger mother, which is Pakistan, that slowly, slowly all these amazing things that Pakistanis and Pakistan has done, we’re slowly letting them fade away,” he said.

“The idea from this dadi telling stories to a child has become about this child telling those stories or trying to tell those stories to the world and saying, ‘Hey, we’re Pakistan and we’re a beautiful country and we do all these things apart from what you’re used to hearing about.’.”