‘Saudi cinema needs to be nurtured’

Updated 03 April 2013
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‘Saudi cinema needs to be nurtured’

Ahd Kamel, Saudi filmmaker, actress and director shared her experience and opinion about the movie industry and Saudi society in a candid talk show at Athr gallery in Jeddah on Tuesday. 
The much acclaimed and accomplished film director received a warm welcome from critics for her first film. This past year has been a busy one for the young star, making appearances in the Dubai International Film Festival and most recently in the Berlin International Film Festival for her second short film ‘Sanctity.’ 
Discussing the latest buzz surrounding her, Kamel frankly said she hoped that the public and critics’ interest in her latest movie was generated due to the creativity and artistic work instilled by the film itself and not because of the Saudi flagship. 
She also expressed her optimism and confidence in the Saudi filmmaking industry, saying the Kingdom has many talented people that are waiting for the right opportunity to shine. 
“I am hundred percent assured about this, even though at the moment we might not be advancing in the right direction, since we still don’t have cinemas, however, filmmaking is an expression and as a society we have much talent and issues to discuss. Saudi cinema is still in its infancy stages, it needs to be nurtured, developed and supported. There are many Saudi filmmakers testing their skills abroad to see where they stand. I think, as cinema becomes a part of our culture and the burgeoning art movement, people will need to receive education about films and the history of cinema. I see the glass half full,” she said. 
Kamel is the first Saudi woman to study acting and filmmaking in the United States of America. Her impressive resume includes working alongside numerous famous directors.  “Saudi Arabia opens the doors but you have to push through. I don’t like to label myself as a Saudi filmmaker, I am simply from the film industry; I am a native of the Kingdom, but I don’t want to carry any banners,” she added.  Recalling her beginnings, Kamel said she never dreamt of being a filmmaker, rather the profession chose her. She picked up a camera to make her graduation project and suddenly filmmaking became her profession. 
Kamel explained that with the film ‘Sanctity’ she tried to highlight overlooked social and female issues and bring them to the forefront of the public’s attention.  “I want to share different angles of the strength and endurance of women; it’s not easy for example to be a mother. I usually approach the theme of my work with a question and then try to tackle it and provide an answer. With regards to this film, the question I put across to the audience is what does a woman do in the absence of a man from her life.”  
Sanctity relays the story of a young widow, who tries to protect her unborn child. 
The most challenging aspect of her experience in directing this movie was the ability to complete the shooting in seven days. It is worth noting that the film was shot on location in Jeddah. 
“It was a great experience shooting on the streets of Jeddah. People in the neighborhoods where we were filming welcomed us and were extremely supportive. The people all-together made this experience a successful one,” she said. 
The young filmmaker said she would like to approach the subject of friendship and plutonic relations that cut across the barriers segregating the sexes.  “How can we create a society without segregation? We are not living in the jungle.

The message needs to be sent across that women can stand up for themselves; that we are capable of doing anything, after all we are responsible for raising the next generation and therefore we should not be ignored,” she emphasized.  
Discussing other topics that interest her, she said she wants to project the different shades of black and white in the lives of women, men and society. 
She said she believes that we need freedom and liberty, but if you find freedom within, it begins to manifest itself outside. For her art is a medium which pushes her to express herself and an outlet of her inner freedom. 
Sanctity has an open ending because she wants to leave room for the audience to come to their own conclusions. 
“I think in creative work, just like in life nothing has a concrete ending. I prefer to be more realistic, especially in films, as it gives you room to think.”
Kamel said her projects and films are not part of her social responsibility but rather they represent her projects as an artist. 
The young filmmaker is very much inspired by the work of John Cassavetes, American film director, actor and screenwriter.


Hia Hub session highlights vital role of pharmacies in Saudi Arabia’s growing skincare market

Updated 02 November 2024
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Hia Hub session highlights vital role of pharmacies in Saudi Arabia’s growing skincare market

RIYADH: Industry leaders discussed the evolving role of pharmacies in skincare during a session at Hia Hub, Saudi Arabia’s fashion, beauty and lifestyle conference, held in Riyadh’s JAX District from Oct. 30 to Nov. 3.

The session, titled “Re-Defining the Pharmacy Channels in Skincare,” brought together prominent figures, including Charlotte Devaux, general manager of wellness and masstige, Pierre Juhen, group president of Patyka, Mahmoud Mamdouh, CEO of Whites Pharmacy, and Cynthia Kattar, editorial director of Hia Magazine.

Mamdouh emphasized the pivotal role of trust in pharmacy skincare. He said: “When discussing pharmacies and skincare, the main concept is trust.” 

(AN/ Huda Bashatah)

Over the past 15 years, pharmacies have cultivated strong relationships with customers, who often turn to pharmacists for personalized skincare consultations, he said. 

Devaux added to the discussion by highlighting social media’s impact on consumer behavior.

(AN/ Huda Bashatah)

She said that while platforms such as TikTok and Instagram offered abundant information, consumers still preferred advice from trusted pharmacists. “Wellness has become a priority for consumers, driving the growth of skincare,” she said. “This reliance on pharmacies as credible sources of information and products is crucial in a marketplace filled with conflicting messages.”

Juhen elaborated on the expansive reach of pharmacies. In Saudi Arabia, there are about 6,000 pharmacy locations, compared to 20,000 in France, he said. 

(AN/ Huda Bashatah)

He said that this dynamic retail channel had shown resilience, even during challenges such as the COVID-19 pandemic, where the pharmacy segment in France experienced growth of 4 percent. 

Juhen highlighted the universal appeal of pharmacies and said: “Everyone visits pharmacies, regardless of age or socioeconomic status,” making them essential points of contact in the community.

The session concluded with a consensus among the speakers on the importance of pharmacies in the skincare sector. As trusted providers of personalized advice and quality products, pharmacies were well-positioned to lead the growth of skincare, they said.


Displaced Gazan artists’ work on display in ‘Under Fire’  

Updated 01 November 2024
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Displaced Gazan artists’ work on display in ‘Under Fire’  

  • An exhibition in Amman shows works smuggled out of Gaza during the ongoing Israeli assault 

DUBAI: A couple tenderly embracing each other; a family gathering; a flowering cactus; and a sunset colored in pink, yellow and orange. Such imagery represents some of the delicate drawings produced by four displaced Gazan artists, whose works are currently being showcased at Darat Al-Funun, an art center in Amman.  

Other images on display make for less comfortable viewing: exhausted people with missing limbs; men kneeling blindfolded in their underwear; women and children whose eyes are wide with terror. 

“Under Fire,” which runs until the end of the year, consists of around 80 artworks by Palestinian artists Basel Al-Maqousi, Majed Shala, Raed Issa and Sohail Salem. All four have been forced from their homes due to the ongoing Israeli assault on the Gaza strip, which began in October 2023.  

A piece by Basel Al-Maqousi from the series 'I Draw with Love, not with War.' (Supplied)

For the exhibition’s curator, Mohammad Shaqdih, receiving the artists’ highly-charged artworks proved to be a cathartic experience. “I was following their work on social media, but when (the pieces) reached Amman and I held them in my hands, I cried at first, to be honest,” Shaqdih tells Arab News. “I was in a state of sadness and I don’t know why. While I was looking through them, I would take a drawing and then quickly put it away. There’s so much death, sadness and blood in these works. At the same time, they embody a form of resilience and resistance. They have life.”  

Organizing any art exhibition comes with its own set of challenges, but planning “Under Fire” was exceptionally difficult.  According to Shaqdih, communicating with the artists through messaging applications and having their works transported across the border were the main issues faced by the curatorial team.  

Raed Issa, 'Friends.' (Supplied)

In May and June 2024, around 100 artworks were taken from Gaza to Egypt. In early October, the works reached Jordan. “These works were passing through some conditions that were dangerous. Some of works were damaged or torn apart,” explains Shaqdih. “It was an adventure taking these works out of Gaza, but, thank God, they reached us.”  

The surviving artworks — predominantly sketches and line drawings — were created, by necessity, using the most basic of materials. Raed Issa, for instance, created his figurative images on medical aid packages using tea as a coloring base. Sohail Salem drew intensely-lined pen drawings in school notebooks provided by the UN Relief and Works Agency.  

Al-Maqousi is showcasing a series of drawings of daily life in crowded camps. “He said: ‘These works are not paintings or works of art for people to see or buy. They are a part of our bodies,’” Shaqdih says.   

Sohail Salem, 'Tala Abu Ajwa, Girl Skater.' (Supplied)

Thematically, the artworks — which are being sold to benefit the artists — are simple and touching. They evoke despair, loss and confusion, but there are elements of hope, love and beauty. One of Issa’s images of two young individuals, depicted with unclear features, is slightly enlivened by the red flowers they hold in their hands.  

“When you read the artists’ incredible accompanying statements, they’re full of human feelings,” Shaqdih says. “What they’re saying is that despite everything they’re going through with this genocide, they are still standing strong and resisting even if it’s through the act of drawing the daily massacres. They’re still able to work and express their existence as human beings under all the ugliness in this world. It’s a form of resistance and resilience.” 

Majed Shala, born in Gaza in 1960, is one of the exhibition’s participants. His works in “Under Fire” depict personal memories, scenes of nature, and life under bombardment. 

Shala’s home and studio were destroyed more than a year ago and he lost all of his artworks. “Under the sound of nonstop bombing, we were (told) to leave our area. We didn’t know where to go,” he tells Arab News. Shala is currently in Deir Al-Balah in central Gaza, where, he says, “the situation is continuously difficult. There is no safety and there are no essential supplies.”  

On a positive note, he says he feels a sense of pride at having his sketches on display in Amman, a city he loves and where he has many friends.  

“I hope that the world stands by those who have the rights, who own the land,” says Shala, “and doesn’t simply watch indifferently from a distance.”  


Future Generation Art Prize unveils 2024 winner

Updated 31 October 2024
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Future Generation Art Prize unveils 2024 winner

DUBAI: The Future Generation Art Prize, one of the art world’s most prestigious prizes initiated in Ukraine in 2009, has announced its 2024 winners. Among the recipients are multidisciplinary artists who are associated with the Arab world.

The main $100,000 prize was granted to Dhaka-based artist, Ashfika Rahman. Other “Special Prize” winners include Iraqi-Kurdish artist, Tara Abdullah Mohammed Sharif, Palestinian artist Dina Mimi, Pakistani artist Hira Nabi, Indonesian-born artist Ipeh Nur, and Zhang Xu Zhan, who was born in Taiwan.

Special Prize winners will share a $20,000 pot between them to support the development of their projects.

Ashfika Rahman. (Supplied)

The prize’s 21 shortlisted artists are displaying their works at the PinchukArtCenter in Kyiv until Jan. 19, 2025 amid a recovering domestic art scene following the Russian invasion of Ukraine in 2022.

“A lot of artists are still actively present. Obviously, many artists in the beginning of the war have escaped but many also stayed,” artistic director of PinchukArtCenter and jury member, Björn Geldhof, told Arab News. “What is important is that from the very start of the war, artists were looking for ways to engage, and when I say ‘engage’, I don’t only mean through art, but how can they be functional in a situation like this? How can they serve their country?”

Ashfika Rahman. (Supplied)

The prize’s participants this year are exploring a thoughtful range of topics, expressed through immersive installations. According to a press release, what is “recurring through the exhibition is the exploration of local histories and mythologies to overcome historical trauma and the long-lasting effects of wars, as well as the process of liberation from the oppression of colonial influence.”

What sets the Future Generation Art Prize apart from others in the field is its focus on championing up-and-coming artists who are 35 years old or younger from around the world.

The curators of the exhibition. (Supplied)

One of the main issues facing emerging artists is a lack of access to curators, galleries and museum professionals to help boost their careers and encourage their artistic practice, according to Geldhof.  

“We want to really speak to an emerging generation with the strong belief that they kind of imagine the future,” he said. “They are dealing with concerns differently than the middle generation, so to speak. . . They imagine, in a very different way, how the world can look like.”


New York’s Met collaborates with Mideast homeware label Sedar on art-inspired furnishings 

The Artist_s Garden at Saint-Clair by Henri-Edmond Cross_Wallpaper Art The Met x Sedar Global
Updated 30 October 2024
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New York’s Met collaborates with Mideast homeware label Sedar on art-inspired furnishings 

DUBAI: New York’s Metropolitan Museum of Art and the Middle Eastern interiors brand Sedar Global are collaborating on a new range of soft furnishings featuring works of art in the former’s collection, with the first launch celebrating nature-themed creations.

Nahel Selo, creative director at Sedar Global Interiors, spoke to Arab News recently about the collection and what he envisions the most popular prints will be — including whether there are plans to feature Arab artists.

The Great Wave by Katsushika Hokusai as wallpaper. (The Met x Sedar Global)

The works of artists including French impressionist Claude Monet, Dutch painter Vincent Van Gogh, Japanese printmaker Katsushika Hokusai and Austrian painter Gustav Klimt have been translated into fabric form.

They will be used for wallpaper, curtains, upholstery and pillows to “(make) fine art accessible in a way that fits seamlessly into the home,” Selo said.

According to Sedar, the initial release “celebrates nature and new life through elements like land, sea, and air” and Selo explained the decision to launch with this collection.

Roses by Vincent van Gogh in the form of a roller blind. (The Met x Sedar Global)

“Nature has a universal appeal, and we felt that it’s something people can connect with on a deeper level, especially in our region where the landscape is diverse yet often harsh … plus, nature-themed designs are versatile; they complement both contemporary and traditional interiors,” he said.

While the target market includes individual homeowners and interior designers working on larger projects, Selo predicts that the “sea-inspired pieces might steal the show.

Red Poppies Charles Demuth on pillows.(The Met x Sedar Global)

“There’s something about the fluidity and tranquility of the ocean that speaks to people, especially in coastal areas.”

Future seasonal introductions will be thematic in nature, drawing on the 1.5 million works in The Met’s collection, which spans 5,000 years of art from around the globe.

When it comes to Middle Eastern creatives, Selo says the team at Sedar, which translates the artworks into pattern-form and soft furnishings before they are approved by The Met, is “looking into it.

“It would be a beautiful way to celebrate our regional culture. We’re exploring ways to bring in local artistry and add that unique Middle Eastern touch to future capsule collection releases,” he noted.

Grasshopper and Iris by Katsushika Hokusai as wallpaper. (The Met x Sedar Global)

When it comes to his own home, the creative designer is not one to shy away from bold uses of color and print.

“My home is slightly more bold and industrial. So I’d probably go for a (Wassily) Kandinsky on a wallpaper feature behind my sofa.

“Kandinsky’s geometry styles add depth and a statement talking point to a space,” he said, referring to the abstractionist Russian painter who died in 1944.


May Calamawy celebrates her birthday with tribute to Palestine

Updated 30 October 2024
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May Calamawy celebrates her birthday with tribute to Palestine

 DUBAI: Egyptian Palestinian actress May Calamawy celebrated her birthday this week with a tribute to Palestine.

The star took to Instagram to share a picture of her cake, decorated with a doll centerpiece, colorful candles, and gold flakes. She captioned it “unhinged and reaching for the (stars),” adding star emojis, and continued with “Free Palestine” written in Arabic.

Her friends and fans quickly took to the comments section to send their well wishes to the actress. 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by May Calamawy (@calamawy)

Calamawy has been actively using her platform to advocate for and support the people of Palestine, sharing images of herself wearing the keffiyeh scarf and posting content that sheds light on the war in the region.

Last month, the actress starred in a campaign for Egyptian Canadian brand Kotn, which creates clothing made from 100% Egyptian cotton. The brand released a Fall/Winter collection titled “El Nady,” which means “the club.”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Kotn (@kotn)

In a short skit shared on Instagram — paying tribute to co-founder Rami Helali’s childhood memories in Cairo’s iconic sporting clubs — Calamawy and her co-stars, including Canadian comedian Dave Merheje, Egyptian American comedian Kareem Rahma, Palestinian American podcaster Noor Elkhaldi and Yemeni American actress Zainab Johnson, sported jerseys that read “Nabulsi Soap,” styled with pieces from the collection.

For example, Calamawy wore a knit cardigan over the jersey along with a skort, Johnson paired hers with a blazer, Rahma added a cream cardigan and Merheje accessorized with a bandana under a cap.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by May Calamawy (@calamawy)

Calamawy is blazing a trail as one of Hollywood’s rising stars. Her breakthrough role came in 2019 as a series regular on Hulu’s Peabody-winning and Emmy-nominated comedy series “Ramy.”

The actress, who was born in Bahrain, also played the role of Layla El-Faouly in Marvel miniseries “Moon Knight.” Her dual character is the wife of Oscar Isaac’s Marc Spector — an archaeologist who by season’s end had transformed into the superhero Scarlet Scarab.

Calamawy previously told Arab News that acting alongside Isaac and Ethan Hawke was “intimidating, like, really intimidating at first.”

She explained: “Once I got to know them, I would be, like, ‘Guys I’m intimidated,’ and that helped. After a while you don’t care anymore and its fun because I got to have a masterclass with the best.”