DUBAI: The latest DC Comics superhero film “Wonder Woman” is set to be banned in Lebanon over its Israeli lead actress Gal Gadot, the state-run National News Agency reported Monday.
The Lebanese Ministry of Economy and Trade has been prompted to “take the necessary measures” to prevent the film being screened in the country, according to local newspaper The Daily Star.
According to a circulated information poster released by the ministry, on Monday it “prepared a directive for the General Directorate of Public Security to take the necessary measures to prevent the screening of this film.” Scroll down to watch the trailer
However, despite stirring up a social media frenzy, the reported ban has yet to be enforced and when contacted by Arab News, a representative of one cinema chain in Lebanon — who spoke on condition of anonymity — said that a premiere screening has been planned, pending an official announcement.
The news follows calls from the Boycott Divestment and Sanctions (BDS) movement in Lebanon to ban the screening of the film due to its Israeli lead. The BDS works to end international support for Israel's treatment of Palestinians.
BDS Lebanon also took action in April 2016, when the actress played the role in “Batman v. Superman: Dawn of Justice.”
At the time, BDS representative Dr. Abdel Malik Sukria sent a letter to Lebanon’s Ministry of Economy and Trade, highlighting Gadot’s service in the Israeli military.
“This actress served in the (Israel Defense Forces) and was crowned the beauty queen of Israel. She also revealed her support for the IDF during the last war in Gaza,” he wrote.
Despite the controversy, the film has received positive reviews in the US, with the Associated Press writing “it’s not perfect, but it’s often good, sometimes great and exceptionally re-watchable.
“Director Patty Jenkins’ film is so threaded with sincerity and goodness it’s a wonder how it got past the pugnacious minds responsible for what’s come before… Just look to the image of Gal Gadot confidently striding out alone onto an unwinnable battlefield with only a shield, a sword and a mission — and prevailing. It’s enough to give you goosebumps,” the AP’s film critic wrote.
Sheikha Alyazia’s ‘mishmash’ of ancient and modern
Inside the Emirati artist’s inaugural solo exhibition in London, ‘I Met a Traveler From an Antique Land’
Updated 23 July 2019
LONDON: You are searching for treasure. Several potential locations are marked with an ‘x’ on your map. You move methodically from site to site, always to be met with disappointment — never striking gold. Are you, in following trails set by others, missing the treasure ‘hidden’ in plain view?
This is one of the conundrums posed in the artworks of Sheikha Alyazia Bint Nahyan Al-Nahyan, whose inaugural solo exhibition in London presented a thought-provoking range of work fusing the ancient past with modern life.
Her “Mishmash Trails” featured cave-like shapes cut in marble, with the treasure taking the form of imagined ancient eastern coins, reflecting Arab, Roman and Phoenician influences. She described the coins, embedded in the marble, as symbolic of the great treasures buried in secret locations that were sought out and fought over by many.
Al-Nahyan named her exhibition — held at Pi Artworks from June 25 to July 7 — with the opening line of Percy Bysshe Shelley’s famous poem “Ozymandias”: “I met a traveler from an antique land.” (Ozymandias is the Greek name for the Egyptian Pharaoh Ramesses II.)
The poem, published in 1818, imagines a meeting between the narrator and a traveller who describes a ruined statue lying in the desert. The description of the statue is a meditation on the fragility of human power and on the effects of time: “My name is Ozymandias, king of kings/Look on my works, ye Mighty, and despair!/Nothing beside remains: round the decay/Of that colossal wreck, boundless and bare/The lone and level sands stretch far away.”
“Maybe a positive thing from looking to the past is that it proves it is only human to repeat the mistake and the lesson,” Al-Nahyan told Arab News. “Studying the past is a realization of human nature, individually or in groups, right or wrong. This natural feeling of connectivity is something I usually aim for.”
There is humor in some of her work — particularly the depictions of old commercial airline advertisements from the 1950s and 60s with ancient figures superimposed in the frames. They certainly give the viewer pause for thought about how much our world has changed in the short time since air travel became widely available.
The exhibition’s curator, Janet Rady, said of Al-Nahyan: “She has been practicing art from a very young age and is self-taught. She is incredibly talented, and you see this in the wide range of her work, which uses all sorts of different media. I can’t necessarily call her a pop artist or a collage artist or an installation artist; she is in fact all of these things, but it is the concept behind her work — connecting the past with the present — which is important.”
The UAE’s UK ambassador, Mansoor Abulhoul, was present at the opening and he particularly admired Al-Nahyan’s works based on the classic wooden board game Carrom paired with a modern video game.
“I first played Carrom with my cousins as a boy, and she has combined it with modern computer games, which is very creative,” he said. He pointed out that her innovative work ties in well with the dynamic of the UAE.
“Next year we have EXPO 2020, with its theme ‘Connecting Minds, Creating the Future.’ It’s very much about our roots and how we take them forward, how we develop the mind and global cooperation,” he said.
The exhibition included a short clip from Al-Nahyan’s upcoming film “Athel,” written by Al-Nahyan’s sister, Sheikha Shamsa. It centers on a strange encounter in the desert between a pre-Islamic poet and a modern-day TV presenter. “Athel” is set for release later this year and stars Hala Shiha and Mansour Al-Fili.
“The idea behind it all is taken from the tradition of Arabic poetry — its wisdom and, sometimes, risks,” Al-Nahyan explained. “And ending with a realization of one tribal law putting redemption and family before all.” She added that there are some “light-hearted” moments in the film too.
Arabic poetry is an ongoing inspiration for Al-Nahyan’s work, adding another layer of meaning to many of her pieces.
“The Arabic language is poetic, and Arabs and other cultures around the world have documented their lives through poetry,” she said. “So, for example, when tackling the topic of what is considered treasure, we found different meanings in various verses. Like when (pre-Islamic poet) Zuhair Bin Abi Salma refers to glory as the only true treasure.”
There is a much to absorb and reflect on in this exhibition which opens windows into many facets of Arab history and culture and poses universal questions about humanity and what constitutes real treasure.