Review: Oscar-winner Riz Ahmed stuns in short film ‘Dammi’

Oscar-winner Riz Ahmed takes on the lead role. (Supplied)
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Updated 23 December 2023
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Review: Oscar-winner Riz Ahmed stuns in short film ‘Dammi’

CHENNAI: Short film “Dammi” made a splash at the Toronto International Film Festival before it headed to Saudi Arabia to screen at the Red Sea International Film Festival this month.

Filmmaker Yann Demange, who grew up in foster care and struggled to connect with his Algerian-Muslim roots, handpicked Oscar-winner Riz Ahmed to play a part that is in many ways a reflection of the director’s own experiences.
Lead character Mounir arrives in Paris as an unhappy man, whose relationship with his Algerian father is broken.




Filmmaker Yann Demange photographed at the Red Sea Film Festival in Saudi Arabia. (Getty Images)

However, he manages to connect with a French Algerian woman, Hafiza (Souhelia Yacoub), who is partly of Persian descent. Mounir admires her level of comfort with her identity and takes an immediate liking to her as he works to form his own sense of self. The work uses visual metaphors — such as the recurring motif of drowning — to describe its protagonist’s struggle in finding himself and Ahmed is superb as a man trying to find who he is. His longing for his father is also brilliantly etched out, however, the most enduringly touching scenes are those between Ahmed and Yacoub who play off fabulously against each other.  

Despite its mere 16-minute runtime, the film lends itself to myriad interpretations, and the shots of Paris are visually alluring. There is every chance that some may find “Dammi” helpful in finding the meaning of their own existence.

This short treat gives us hope for Marvel Studios’ “Blade,” starring Oscar-winner Mahershala Ali, that Demange will direct. If he can pack this much heart into 16 minutes, here’s to hoping the Marvel epic will also showcase the director's talents. 


Ramy Youssef stars in new film by ‘Succession’ creator

Updated 23 April 2025
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Ramy Youssef stars in new film by ‘Succession’ creator

DUBAI: Ramy Youssef, Steve Carell, Jason Schwartzman and Cory Michael Smith play four billionaires in “Succession” creator Jesse Armstrong‘s HBO film, “Mountainhead.”

As they enjoy their trip, the world erupts in chaos with headlines such as “Sectarian Violence Escalates in India” and “President of Uzbekistan Forced to Move to Secret Location” interrupting their downtime.

In the trailer, the billionaires receive a call from the President of the United States. “What could he possibly have to say?” asks Smith.

Youssef responds: “That your platform has inflamed a volatile situation, circulating unfalsifiable deepfakes, massive fraud, market instability.”

Armstrong wrote and directed the film, which is a parody of the lives of the ultra-wealthy.

Filming began on “Mountainhead” in March, giving the crew a tight turnaround time before the film’s release on May 31.

In a recent interview with Variety, Youssef teased the film, saying it’s “funny in the same way ‘Succession’ is.”

Egyptian American comedian, writer, actor and director Youssef is known for creating and starring in “Ramy” on the US streaming platform Hulu, which won him a Golden Globe in 2020 in the category Best Performance by an Actor in a Television Series, Musical or Comedy.

His animated series “#1 Happy Family USA” had world premiere at the South by Southwest Film Festival in Austin, Texas, in March.


Red Sea Film Foundation announces mentorship program with Spike Lee

Updated 22 April 2025
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Red Sea Film Foundation announces mentorship program with Spike Lee

DUBAI: Academy Award-winning filmmaker Spike Lee – known for films like “Malcolm X” and “BlacKkKlansman” – is teaming up with Saudi Arabia's Red Sea Film Foundation to launch the brand new Director’s Program.

The initiative will bring together 15 selected filmmakers for a “one-of-a-kind, intimate and inspiring mentoring experience” with Lee, according to an Instagram post from the foundation.

Taking place from April 30 to May 3, the program offers emerging directors from the Middle East and Asia a rare opportunity to learn from one of the most influential voices in cinema.

Applications are open until April 24.


Japan’s Kaneko Masakazu explores memory, myth and nature in intimate Saudi Film Festival talk

Updated 22 April 2025
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Japan’s Kaneko Masakazu explores memory, myth and nature in intimate Saudi Film Festival talk

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.”


Thousands rock at music shows in Jeddah after F1

Updated 22 April 2025
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Thousands rock at music shows in Jeddah after F1

  • Jennifer Lopez, Usher lit up the stage on Saturday and Sunday
  • This is cultural tourism via entertainment, says MDLBEAST CEO

JEDDAH: The past two days were filled with high-speed thrills and electrifying musical performances as the Formula One Saudi Arabian Grand Prix 2025 took over the city.

The after-race concerts, held at the Jeddah Corniche Circuit, were headlined by global music icons Jennifer Lopez and Usher, who lit up the stage on Saturday and Sunday night.

The party began right after a thrilling qualifying race, when Lopez stepped on stage. Wearing a dazzling black skintight catsuit, the 55-year-old icon made a bold and unforgettable entrance for an adoring crowd.

From the opening beats of “Get Right” to the final fireworks of “On the Floor,” Lopez delivered a show packed with powerhouse vocals, explosive choreography, and pure star energy.

The Bronx-born singer, who has sold over 80 million records and earned a star on the Hollywood Walk of Fame, treated fans to a string of hits including “Jenny from the Block,” “Ain’t It Funny,” “I’m Real,” and “Love Don’t Cost a Thing.”

“This is an incredible place with an incredible backdrop for F1,” Lopez told the crowd, glowing with excitement. “It feels good to be back out here. I love the energy here. I am feeling myself a little bit here.”

In an emotional moment, the singer told the crowd: “Love is feeling safe, love is secured, that’s what love is.”

JLo graced the stage in a series of stunning outfits, changing into a red suit, followed by a golden one, and finishing the show in pink.

The audience responded with roaring applause, with many in tears.

“JLo brought the energy, the heart, and the glam,” said Reem Al-Sharif, a 29-year-old from Jeddah. “When she talked about love, I really felt that. She’s not just a performer, she’s a storyteller.”

Ramadan Al-Haratani, CEO of MDLBEAST, said: “This is what cultural tourism through entertainment looks like. The music doesn’t just support the race weekend, it transforms it.”

The following night, Usher, the king of smooth R&B, delivered a thrilling performance that brought the Grand Prix to a stylish and electrifying close.

Dressed in an edgy all-black ensemble, Usher commanded the stage with his signature swagger.

The Grammy-winning artist took fans on a journey through two decades of hits, from the crowd-hyping “Yeah!” to slow jams including “Nice & Slow,” “U Got It Bad,” and “My Boo.”

His charisma, vocals, and iconic dance moves had fans on their feet all night.

“This was my first time seeing Usher live, and it was worth every second,” said Talal Saleh, another concertgoer. “His connection with the crowd, the performance, everything was perfect. He even brought some nostalgic 2000s magic to Jeddah.”

Lina Al-Mansour, who attended both concerts, said: “The entire experience felt like a music festival and a Formula 1 race rolled into one. It was world-class entertainment right here in Jeddah.

“I never imagined seeing JLo and Usher in my hometown.”

The concerts also featured supporting acts including Major Lazer and Peggy Gou, who kept the crowd hyped between the headliners.


Saudi Film Festival panel explores parallels between Japanese, Saudi cinema

Updated 22 April 2025
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Saudi Film Festival panel explores parallels between Japanese, Saudi cinema

  • US-based Japanese director Ken Ochiai and Oscar-nominated Japanese animator Koji Yamamura join discussion
  • Saudi film ‘Hobal’ wins praise for striking cinematography, captivating narrative

DHAHRAN: From Tokyo to Dhahran, audience members at the 11th Saudi Film Festival were treated to a rich cross-cultural exchange during a panel this week that explored the cinematic parallels and connections between Japan and Saudi Arabia.

Moderated by Zohra Ait El-Jamar, head of Hayy Jameel Cinema, the panel featured US-based Japanese director and photographer Ken Ochiai, Oscar-nominated Japanese animator Koji Yamamura, and Ithra’s Japanese-fluent Saudi film expert Majed Z. Samman.

Yamamura, who has had a career spanning 45 years and teaches at Tokyo University of the Arts, said: “What I make is more artistic films, not commercial ones.”

The globally acclaimed animator offered a masterclass earlier in the festival.

Ochiai, who viewed the Saudi film “Hobal” at the festival, noted striking similarities between Japanese and Saudi cultural expressions in cinema.

He praised “Hobal,” pointing to the strong emphasis on cinematography, concise dialogue, and captivating narrative.

“Less is good, if you can convey feelings through facial expressions,” he said.

The panel encouraged the audience to watch more foreign films “to broaden your perspective.”

Samman said that Saudi audiences have favored three main film categories for decades: “Hollywood, Bollywood, and anime.”

He said that his love of cinema began while studying in Tokyo.

“Saudis grew up on anime that was mostly dubbed into Arabic,” he said, adding that many popular films, such as “Inception,” were based on Japanese originals.

Japanese films often require a bit of homework beforehand, Samman said.

“If you’re not into it (Japanese storytelling style), or if you’re not going to research it, you might think it’s stupid or cheesy — or, what’s happening here? I think we need to bridge that gap between the culture and the visual language,” he said.

Ochiai explained the differing approaches to film editing, saying that in Hollywood, several takes are shot, and editing happens later. In contrast, Japanese filmmakers often prefer to edit in real time, based on a meticulously planned storyboard, in order to minimize extra work.

While Japanese films can sometimes feel lacking in context, every country has its own visual language, he said.

Japanese cinema’s minimalist sensibility resonates deeply within Japan, though it can sometimes feel mysterious or confusing to outside audiences. This is because Japan’s film industry has traditionally prioritized domestic viewers, without filling in background details that international audiences might need.

Ochiai said that audiences today who focus on trending aesthetics, especially on TikTok, may be looking in the wrong direction.

“What we really need to focus on is the message of the film. How you learn is not on YouTube, but how you learn is from the past, like the movies from the past, because everything is coming from the top.

“Art is a copy of something. So, if you copy the copy of the copy of the copy, it just gets watered down — the quality — so you should learn the history of the cinema so that you can also bring something new to the table,” he said.