Cannes Film Festival 2023: Five Saudi-backed titles among slate of MENA films
Saudi Arabia's Red Sea Film fund has backed five films that will screen at the upcoming film festival
Updated 13 April 2023
Arab News
DUBAI: The official selection of the 2023 Cannes Film Festival was announced on April 13, with nine filmmakers from the MENA region among the line-up for the 76th edition of the festival, running from May 16-27.
The roster also features five films that have been backed by Saudi Arabia's Red Sea Film fund, including Tunisian film “Four Daughters” by Kaouther Ben Hania, Senegalese film “Banel E Adama” directed by Ramata Toulayesy, Sudanese film “Goodbye Julia” by filmmaker Mohamed Kordofani, “Les Meutes” by Kamal Lazrek and “The Mother of All Lies” by Asmae El-Moudir.
Here are the nine filmmakers from the MENA region who will showcase their work at the festival this year.
Karim Ainouz
The Algerian-Brazilian filmmaker’s “Firebrand,” an historical drama following Catherine Parr and Henry VIII’s marriage, and starring Alicia Vikander and Jude Law, will screen in the official competition category.
Kaouther Ben Hania
The Tunisian filmmaker’s “Four Daughters,” also showing in the official competition, stars Hend Sabry as the mother of four daughters, two of whom become radicalized and join Daesh.
Ramata-Toulaye Sy
The Senegalese-French film director and screenwriter’s debut feature “Banel & Adama” is a female emancipation drama set in a remote village in Northern Senegal, which will screen in the official competition category.
Elias Belkeddar
The Franco-Algerian producer-director’s “Omar La Fraise” follows the story of Omar Zerrouki, a gangster who leaves France for Algiers to escape a life of crime. The film will show in the Midnight Screenings at Cannes.
Asmae El-Moudir
The Moroccan filmmaker will screen “The Mother of All Lies” — a documentary that explores the events surrounding the deadly bread riots that shook El-Moudir’s impoverished Casablanca neighborhood in 1981 — in the Un Certain Regard category.
Mohamed Kordofani
The Sudanese filmmaker’s “Goodbye Julia,” also screening in the Un Certain Regard category, is set just before the secession of South Sudan, and follows a married former singer from the north who seeks redemption after causing the death of a southern man.
Kamal Lazraq
The Moroccan filmmaker’s debut feature “Les Meutes,” featuring in the Un Certain Regard category, stars Ayoub Elaid and Abdellatif Masstouri as a father-and-son duo.
Ali Asgari, Alireza Khatami
Iranian filmmakers Ali Asgari (pictured) and Alireza Khatami will show their film “Terrestrial Verses” in the Un Certain Regard category of the competition.
Recipes for success: Chef Vincenzo Palermo offers advice and a spaghetti al pomodoro recipe
Updated 9 sec ago
Hams Saleh
DUBAI: Vincenzo Palermo, head pizza chef at TOTO Dubai, has built his career on one belief: “Pizza isn’t just comfort food, it’s a craft.”
Originally from Apulia in southern Italy, Palermo has spent years refining his skills. His journey began early, watching the baking process in his family kitchen as a child. He went on to study at Rome’s API Pizza Academy.
Over the past 14 years, his career has taken him from Italy to Russia, France, the US and now the UAE, with his pizzas earning international recognition and awards along the way — including a historic win as the youngest-ever World Champion of Neapolitan Pizza in 2018.
Vincenzo Palermo is the head pizza chef at TOTO Dubai. (Supplied)
When you started out, what was the most common mistake you made?
I believed that cooking was just about combining ingredients correctly and adhering strictly to techniques. My focus was on the mechanical aspects of executing everything “correctly,” but I didn’t always bring myself into the dish; that was my biggest mistake.
Coming from a family where food was never just food — it was tradition, emotion, and memory — I learned discipline and focus. Over time, I realized that every dish must tell a story. It could be a childhood memory, a moment of celebration, or simply a feeling you want to share, but if you do not put your heart into it, then no matter how perfect the dish appears, it lacks soul.
The kitchen is not just about skill and technique, it’s a place for passion. Food is a language, and love is the message. That is what I try to pass on now, both to my team and on every plate that leaves the kitchen.
What’s your top tip for amateur chefs?
My journey began in a very humble way. I was just a child when I first stepped into the kitchen, helping my mother, making my first pizzas and simple pastas with curiosity and joy. That passion never left me. So, my top tip is this: Do not underestimate yourself just because you are cooking at home. Get into the flow, cook with heart and love, and do not place limits on what you think is possible. Everything we create in a professional kitchen, even the most refined dishes, can absolutely be recreated at home with the right mindset. Cooking is mostly about emotion, not technique, and that emotion can be felt whether you’re in a Michelin-level kitchen or your own. Believe in your hands, trust your ingredients, and enjoy the process.
What one ingredient can instantly improve any dish?
I’d say flour. The right flour for the right dish is absolutely essential. In Italy, we don’t just say “flour,” we talk about “tipo 00,” “semola rimacinata,” “integrale”… Each type of flour has a specific purpose, and choosing the right one shows respect for the dish and the tradition behind it. Using the right flour is like choosing the right language to express yourself. It’s the base of everything, the foundation. Even for home cooks, this choice can make the difference between something good and something truly authentic.
When you go out to eat, do you find yourself critiquing the food?
As a chef, it is natural to notice the details, but I try to approach it with an open mind.
What’s the most common mistake or issue you find in other restaurants?
A lack of authenticity and a disconnect between the dish and its cultural roots. Authenticity and consistency are key, and when they’re missing, it affects the overall experience.
When you go out to eat, what’s your favorite cuisine or dish to order?
Honestly, I love to try everything. For me, eating out is about enjoying food and learning. Every culture has its own traditions, techniques and flavors, and I want to understand the story behind each dish.
I’m always curious. I taste something new, study it, and then think about how that ingredient or idea could inspire something in my own kitchen. That is how we grow as chefs — by keeping our minds open and constantly learning from others.
What’s your go-to dish if you have to cook something quickly at home?
Without a doubt, it’s spaghetti al pomodoro. What could be more Italian than that? It is full of soul. I love it because it represents everything I believe in: simplicity, quality and passion. When I cook it at home, even if I’m short on time, I give it my full attention, from choosing the best tomatoes and olive oil to making sure the Gragnano pasta is cooked perfectly al dente, which is non-negotiable.
TODO Dubai. (Supplied)
What customer request most annoys you?
Requests that compromise the integrity of a traditional dish can be challenging. While I fully respect dietary restrictions and personal preferences, altering a classic recipe beyond recognition takes away from its authenticity. I believe in educating diners about the origins and significance of each dish to foster greater appreciation and respect.
What’s your favorite dish to cook?
Pizza. It’s more than just my profession, it’s a piece of my heart. I have a vivid memory from my childhood: my mother and sister in our home kitchen, cooking pizza in a pan. Of course, it was not the “right” way by traditional standards — she was not a trained chef, she was a home cook — but, like many Italian mothers, she found her own way to make something special with what she had.
Even if the technique was not perfect, the love and passion she put into it made it unforgettable. Sometimes my sister would join her, and for me, that pan pizza became a symbol of family, comfort and creativity. Pizza means everything to me because of what it represents: love, family and the joy of making something beautiful from the heart.
What’s the most difficult dish for you to get right?
For me, it’s fish. It may seem simple, but it’s not easy to cook perfectly. Fish is delicate. You must respect the texture, the temperature and the timing. One second too much, and it’s dry. One second too little, and it’s raw. I always need to stay focused and keep learning. That challenge is part of what makes it so rewarding when you get it just right.
As a head chef, what are you like? Are you a disciplinarian? Or are you more laidback?
Honestly, I can’t stand chefs who shout. We’ve seen it too many times in movies and on TV: the angry chef screaming, throwing pans, creating fear in the kitchen. Unfortunately, this happens in a lot of kitchens. But this is not leadership. This is not how great food is made. The kitchen is not a battlefield, and the people around me are not soldiers or slaves — they are humans, artists, professionals. As any of my team will tell you, I’m calm; I like to joke, and I create a relaxed environment. That doesn’t mean we’re not serious. When it’s time to push, I push. But we push together — fast, sharp, focused — as a team. Respect is the true foundation of a great kitchen. When people feel valued and inspired, not afraid, they cook with love. And that love is what reaches the plate.
Chef Vincenzo Palermo’s spaghetti al pomodoro recipe
Ingredients:
200 gr spaghetti from gragnano
300 gr San Marzano peeled tomato
Fresh basil
2 cloves of garlic
Salt
Pepper
4 tablespoons of extra virgin olive oil
Parmesan cheese
Instructions:
In a pan, gently sauté crushed garlic in olive oil.
Add the tomatoes and let cook for about 10–15 minutes and add salt and pepper.
In a pot, put water and salt and make it boil.
Boil spaghetti until al dente, then transfer it to the sauce with a bit of cooking water.
Toss everything together and finish with fresh basil and a drizzle of olive oil.
Serve it with a gentle parmesan cheese on the top.
Highlights from Bashir Makhoul’s ‘The Promise’ at Zawyeh Gallery
Highlights from Bashir Makhoul’s ‘The Promise,’ on show at Zawyeh Gallery, Dubai until June 30
Updated 29 min ago
Arab News
‘Drift’
The Galilee-born British-Palestinian artist’s solo show’s title, according to the gallery, “encapsulates a poetic and ambiguous statement of intent — an assertion that is both an event and a transformation. A promise is made and, inevitably, can be broken.” That is the duality at the heart of Makhoul’s practice, as is the recurring motif of the house.
‘Deep Wounds’
This work is part of a series of painted wooden sculptures, each of which bears a carved hollow scar, disrupting its ‘wholeness.’ “These wounds are marks not just of trauma but also spaces of beginnings, resonating with Edward Said’s notion of origins as an act of cutting open, a rupture that invites multiple directions.”
‘My Olive Tree’
Makhoul has been experimenting with electroplated 3D printing to produce crystalline machine-generated structures that “paradoxically resemble organic formations” such as those seen in this work representing Makhoul’s own tree which stands between two plots of land he does not own.
Playwright Caryl Churchill pulls out of theater project over Barclays’ ties to Israel
Churchill, who is a long-time advocate for Palestinian rights, called on the Donmar Warehouse to cut ties with Barclays
Updated 05 June 2025
Arab News
LONDON: Acclaimed playwright Caryl Churchill has withdrawn from a project with a London theater over its sponsorship by Barclays and the bank’s links to companies supplying arms to Israel.
In a statement, Churchill, who is a long-time advocate for Palestinian rights, called on the Donmar Warehouse to cut ties with Barclays, The Guardian reported.
“Theaters used to say they couldn’t manage without tobacco sponsorship, but they do. Now it’s time they stopped helping advertise banks that support what Israel is doing to Palestinians,” she said.
The project had not yet been publicly announced but would have marked Churchill’s return to the Donmar for the first time since “Far Away” in 2020.
Her move has been backed by more than 300 artists and arts workers, including actors Harriet Walter, Juliet Stevenson, Alfred Enoch, Samuel West and Tim Crouch, who signed an open letter in support.
Barclays has faced increasing pressure from arts and activist groups over its provision of financial services to defense companies operating in Israel.
In 2023, the group Culture Workers Against Genocide published a letter condemning Barclays’ sponsorship of Sadler’s Wells, with signatories including Maxine Peake, an actress.
Last year, the Bands Boycott Barclays campaign led to the bank being dropped as a sponsor by several UK music festivals, including Latitude and The Great Escape.
Barclays declined to comment on Churchill’s withdrawal but said on its website: “While we provide financial services to these companies, we are not making investments for Barclays and Barclays is not a ‘shareholder’ or ‘investor’ in that sense in relation to these companies.”
Barclays CEO C.S. Venkatakrishnan defended the bank’s position in a 2023 Guardian article, writing: “These companies are supported by our democratically elected governments for their role in protecting the UK and allies in Europe. We will not undermine our own national security by de-banking them.”
Responding to Churchill’s decision, Culture Workers Against Genocide said: “Arts institutions have an ethical duty not to contribute to oppression and injustice. By continuing to accept sponsorship from Barclays, Donmar Warehouse is helping to launder the bank’s reputation as it profits from Israel’s genocide in Palestine.”
The Donmar, which lost its £500,000 ($679,355) annual government grant in 2022, has increasingly relied on private support, including corporate sponsorships. It has been approached for comment.
Churchill was previously stripped of a European lifetime achievement award in 2022 following criticism of her play “Seven Jewish Children” and her public pro-Palestinian stance.
Saudi pavilion makes a splash at London Design Biennale
Updated 05 June 2025
Jasmine Bager
DHAHRAN: “Good Water,” the Saudi National Pavilion that reimagines our relationship with water, is sure to be popular with visitors at the London Design Biennale, which opens today.
Examining water systems, accessibility, equity and scarcity, the pavilion was commissioned by the Architecture and Design Commission and supported by the Ministry of Culture. Presented under the leadership of commission CEO Sumayah Al-Solaiman, it marks the fourth time the Kingdom has taken part in the event.
“In a Biennale that explores the intersection of inner experiences and external influences, ‘Good Water’ reflects the spirit of inquiry we hope to share with the world,” said Al-Solaiman.
“With this pavilion, we are proud to support the next generation of Saudi practitioners and provide platforms that amplify their voices on the international stage.”
Saudi artists Alaa Tarabzouni, Dur Kattan, Fahad bin Naif and Aziz Jamal worked as co-curators, collaborating across various disciplines.
“In the team, we don’t have specific roles,” Jamal told Arab News. “We all collaborated on everything. So the video, we all shot together — we all wrote together. We all have different backgrounds in the arts sector but we’ve worked together (in the Saudi art scene) for the past five years and that’s actually how we came together; it’s more of a democratic process and there’s no kind of strict guidelines.”
Saudi artist Aziz Jamal worked as one of the co-curators. (Supplied)
At the heart of the Saudi contribution in London is the sabeel, a traditional water fountain usually placed and funded privately in a shaded outdoor communal space. It is meant for use by anyone in the community, free of charge.
The sabeel is an enduring symbol of hospitality and generosity, deeply rooted in the Arabian Peninsula and found in many spots throughout the Middle East.
“Growing up in Dhahran, you would see sabeels everywhere. Our house didn’t have one, but there was a mosque in front of our house that had one,” Jamal said.
The London installation strips the sabeel of nostalgia and re-centers it as a contemporary, working object. Visitors are invited to fill their cups — literally and figuratively, as they pause to reflect on the often unseen systems, labor and energy that make the flowing “free” water possible.
Stacks of paper cups will be provided, bearing the message “Good Water: 500 ml = one AI prompt” in vibrant color. There will also be refillable water bottles so spectators can have a “water-cooler moment” to chat, sip and ponder.
The pavilion also features four videos, filmed at an old water factory in Riyadh, showing the painstaking journey of water from droplet to distribution. The screens trace the production process across different sizes of bottles, with each film lasting under 10 minutes.
Jamal’s relationship with water shifted since he started working on this project.
“I have to say, watching and going to visit the water factory (in Riyadh) and seeing the enormous effort that it takes to fill up one tiny water bottle — you don’t take that effort for granted anymore,” he said.
“Before, if there was a little bit of water in my water bottle, I would just leave it, but now it’s like, I make it a point to drink (it) all … to finish my water bottle, because it’s not just a matter of just getting the water filled up, it’s testing it, going through inspection, doing all the mineral checks. It has made me more conscious of every drop.”
Jamal’s aim is for visitors to the pavilion to quench their thirst with that same realization.
“What I really hope for is for people to interact with the piece,” he said. “We want that act of generosity to come through and we want people to drink the water.”
The eco-conscious will be glad to know the sabeel will dispense locally sourced water — not any transported from Riyadh. It will also be indoors.
A printed catalogue written by the curators will also be available, offering further context in the form of essays, research material and images of water infrastructure and sabeels from across the Middle East and North Africa region.
Saudi Arabia is one of the most water-scarce countries in the world. Only 2.5 percent of the world’s water is freshwater, and even less is accessible for drinking. The Kingdom is the largest producer of desalinated water globally, supplying over 60 percent of its potable water, according to the Saudi Pavilion team’s research.
“We thought (the sabeel) was a perfect anecdote to describe the attitude and the general principle behind this concept of water as a human right and not as a luxury,” Jamal said. “It’s free drinking water, but it’s from a private source. So we felt it really encompassed this specific phenomenon in Saudi, of paying it forward and offering water to people who don’t have access to it.”
With “Good Water,” the Saudi National Pavilion puts this scarcity — and the labor behind everyday hydration — center stage.
“Our research was about water and access to water,” Jamal added. “When we were first conceptualizing the piece for the London Biennale, we were looking at the infrastructure and water and access and what’s the hidden cost of free water in Saudi — and specifically looking at the object(ive) of a sabeel: What does this act of generosity and act of making water into a human right mean, and what is the hidden cost of that?”
Though the widespread distribution of plastic bottles has displaced the sabeel to some extent, Jamal emphasized its enduring relevance, especially in a country with scorching summers and large outdoor workforces.
“I think people are on the go, so they need something convenient, but I think water bottles haven’t killed off sabeels completely,” he said. “A lot of the workforce in Saudi, who have more direct contact under the sun and the streets — they still use it all the time. It’s not just drinking water — it’s cold drinking water, and in Saudi that’s very important.”
Jamal joked that after nearly a year of working on this project, the team would raise a glass of water in celebration.
The pavilion will be open until June 29 at Somerset House.
REVIEW: ‘Dept. Q’ — Netflix’s cold-case thriller is fun but flawed
Updated 05 June 2025
Adam Grundey
DUBAI: Netflix’s latest police-procedural is set in Scotland, but based on the novels of Danish writer Jussi Adler-Olsen.
At its heart is detective Carl Morck (Matthew Goode). Morck is one of those cops; you know, great at his job but terrible with people, emotionally stunted, arrogant, divorced, et cetera. Morck and his partner — and best (only?) friend — James Hardy (Jamie Sives) are shot and wounded in a seemingly routine visit to a crime scene, leaving Hardy paralyzed and the junior officer who arrived first at the scene dead. Morck returns to work to discover that his boss has assigned him to head up a new department (established at the behest of her superiors) looking into cold cases — a good excuse to get the troublesome Morck out of the main office and into a dingy basement room where he can’t easily bother anyone.
He’s assigned some assistance: Akram (Alexej Manvelov) — a Syrian refugee who’s ostensibly an IT boffin, but, it quickly becomes clear, is also a very handy detective with some serious combat skills; Rose (Leah Byrne), an eager and capable cadet struggling with her mental health after a fatal accident at work; and, eventually, Hardy.
Their first case is the disappearance and presumed death of prosecutor Merritt Lingard four years previously. The last person to see her alive was her brother William, but he’s unable to communicate having suffered brain damage as a teen. The case’s many tangents lead off into conspiracies, organized crime and more. The truth of it, though, is considerably more prosaic.
The good news: “Dept. Q” — as you’d expect with Netflix money behind it — looks great, with a gritty, noir-ish feel. There’s a genuine chemistry between the members of the titular department, and it has an absorbing mix of dark humor and sometimes-horrifying violence. Sives, Manvelov, and Byrne, in particular, are compelling draws. Goode offers a largely convincing portrayal of a not-very-nice man attempting to become slightly nicer. It’s enjoyable and easy to binge.
But one suspects that “enjoyable and easy to binge” wasn’t the limit of the showrunners’ ambitions, and “Dept. Q” certainly shows the potential to be more than that. It’s let down, however, by some horribly clunky storylines, not least the relationship between Morck and his assigned therapist Rachel (a wasted Kelly Macdonald), which appears to have been lifted from a discarded rom-com pitch. And many will likely find that the ultimate solution to the case stretches credulity well beyond their limits.
Still, it’s clearly set up for a second season (and possibly many more), and there’s enough promise here to believe that “Dept. Q” will find its feet and become a must-see — rather than a maybe-see — show.
