‘Arabian Warrior,’ first American-Saudi movie, premieres Monday in the Middle East

Rising Egyptian star Amir El-Masry is fast becoming known for his acting chops. (@amirelmasry)
Updated 11 March 2018
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‘Arabian Warrior,’ first American-Saudi movie, premieres Monday in the Middle East

DUBAI: The Middle East premiere of the first joint Saudi-American movie production, “Arabian Warrior,” takes place Monday night at Roxy Cinemas in City Walk, Dubai.
The movie, directed and produced by Los Angeles-based Saudi brothers Aymen and Mohammad Khoja, tells the story of a gifted young Saudi soccer player, Anmar, who is studying architecture in the States but is offered the opportunity to pursue his dream of becoming a professional footballer. That sets him at odds with his conservative parents, who do not support that dream.
Rising Egyptian star Amir El-Masry plays Anmar. The London-based actor is rapidly establishing himself as one to watch in Hollywood and looks set to join the short list of Egyptian actors to break big internationally. The most famous of that select group, Omar Sharif, reportedly “discovered” El-Masry, and advised him to start his acting career in Egypt. El-Masry followed that advice and made his debut as Ramzy in the 2008 comedy “Ramadan Mabrouk Abul-Alamein Hamouda,” for which he won the Best Young Actor award at Egypt’s equivalent of the Oscars in 2009.
El-Masry’s first major international role arrived in 2014. He played Alireza in “Rosewater,” written and directed by Jon Stewart, the ex-host of the wildly popular satirical US TV program “The Daily Show.”
The 27-year-old actor went on to play Youssef in two episodes of the acclaimed 2016 mini-series “The Night Manager,” opposite three big-name British stars — Hugh Laurie, Tom Hiddleston and Olivia Colman.
Most recently, El-Masry starred in “Goats” at London’s Royal Court theater, a play set in Syria, which The Guardian described as “agonizingly pessimistic,” calling El-Masry’s returnee soldier Adnan “all-too-plausibly brutalized.”
“Arabian Warrior” is the Khoja Brothers’ debut feature film. They have previously released two shorts — “Waheed” and “Snow in Summer” — along with the YouTube series “Sargo.”


Taiwanese ‘graffiti village’ eases elderly loneliness

Updated 18 July 2019
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Taiwanese ‘graffiti village’ eases elderly loneliness

  • The paintings have started to bring young visitors — always keen for a selfie in a photo-friendly location — back
  • The Hakka are linguistically distinct group of people who trace their origins back to southern China

RUAN CHIAO, Taiwan: Nestled in the mist-covered foothills of Taiwan’s central mountain range, Ruan Chiao village is virtually devoid of young people, but artist Wu Tsun-hsien is coaxing the Instagram generation back by transforming local homes into a canvas of color.
Dipping his brush into a tin of beige emulsion, he carefully applies new layers of paint to his latest production — a vibrant rural scene depicting farmers in traditional weave hats tending to a flock of animals.
Behind him an elderly villager with a walking stick shuffles his way down the main street, which is plastered with Wu’s colorful paintings.
“This village is full of old people,” the 55-year-old laments, explaining how the vast majority of youngsters — including his own children — have moved to the city, leaving elderly residents listless and lonely.
But paintings have started to bring young visitors — always keen for a selfie in a photo-friendly location — back.
“These drawings attracted many tourists to come visit. The old people who were left here are no longer so bored. This was my biggest gain,” he beams.
Wu is not alone in this adopting this strategy.
There is now some half a dozen so-called “graffiti villages” in Taiwan that have been festooned with artwork in a bid to inject some life into rural places that have been emptied of its young.
Like many industrialized places, Taiwan’s remarkable economic transformation over the past few decades has upended rural communities and unleashed huge demographic changes.
“It’s perhaps a more recent phenomenon than it would have been in some other places,” explains Shelley Rigger, an expert on Taiwan at Davidson College in North Carolina, who said much of Taiwan’s industrial manufacturing stayed in the villages.
“People sewed Barbie doll clothing in their houses and then carried it down to a packaging plant in the middle of a village,” she tells AFP, as an example.
Ruan Chiao village, for example, used to churn out paper temple offerings.
But once much of the manufacturing shifted to mainland China in the late 1990s and Taiwan moved up the value chain, many of those jobs left.
“That’s when you see rural areas kind of emptying out,” Rigger adds.
Taiwan’s 23 million population is also rapidly aging. The birth rate has plummeted — only 180,000 children were born last year, an eight-year low.
The Wu family have experienced this flight first hand.
The ancestral home is occupied by his wife’s father, 81, and mother, 72, who still work a few plots of land in the hills above the village growing organic vegetables. But Wu’s own children both went to university and have left, one to Australia, the other to a nearby city.
Wu’s wife Fan Ai-hsiu explains their bid to draw Instagram-happy crowds of youngsters was less about economics and more about giving her parents something to look forward to.
“They want to have conversations with people, that’s what they miss, it’s not about money,” Fan says.
But it was not initially an easy task to persuade fellow villagers to use their houses as a canvas.
“People here are fairly conservative,” she recalls, adding: “But once the first few paintings went up, they could see it brought people in.”
Most of Wu’s paintings in the village stick to rural pastiches or traditional symbols of good fortune.
It is the family home where he really gets to express himself — and which has quickly drawn a mass following on social media.
Perched on a slope overlooking the village, the whole house is covered in images, many of which detail Wu’s politics.
He’s an avid believer that not enough is being done to tackle climate change, so some of the scenes show apocalyptic scenes of environmental devastation.
Others are commentaries on social issues like gay marriage — which he opposes — or how the elderly are treated in an increasingly consumerist society.
“This mural depicts the present Taiwanese corrupt society,” Wu remarks as he walks along a huge painted wall featuring hundreds of images.
“This one is society’s mayhem due to mobile phones, computers and television... and this one is our cultural loss where many of our Hakka young generations don’t know the culture,” he adds.
The Hakka are linguistically distinct group of people who trace their origins back to southern China. They have lived in Taiwan for some four centuries and make up 15-20 percent of the population.
Evelyn Sun puts on art and food events in Taipei and found out about Wu’s paintings via social media.
She visited with friends who all soon found themselves sitting around a table with the Wu family, eating traditional Hakka vegetable dishes and tucking into eggs boiled in a secret recipe of local herbs.
The 25-year-old enthuses: “Taiwan has many ‘graffiti villages’ that are beautiful scenic spots where people will just leave after taking pictures.”
“But I realized when I came here that every mural here is depicting a social problem faced by society.”
She hopes other young Taiwanese will explore the nation’s rural villages more often.
She explains: “These people are our culture, they are our history, we have to get to know them.”