DUBAI: Former “Game of Thrones” co-stars Kit Harington and Rose Leslie married Saturday with a church service and a celebration at the bride’s ancestral castle in Scotland.
Leslie looked ethereal in an ivory lace and tulle gown by Elie Saab, with a white floral headpiece worn under a whimsical veil.
The couple and guests arrived for the afternoon service at Rayne Church, close to the 900-year-old Wardhill Castle in northeast Scotland, which is owned by Leslie’s family. Harington, wearing a morning suit, and Leslie smiled at members of the public who had gathered outside the church.
Guests included the pair’s “Game of Thrones” co-stars Peter Dinklage, Maisie Williams, Sophie Turner and Emilia Clarke, AP reported.
Leslie was walked into the church by her father Sebastian Leslie, an Aberdeenshire councilor and the chief of the ancient Leslie Clan, who wore a traditional Scottish kilt.
Later, the newlyweds were showered with rose petal confetti as they left the church and drove off in a Land Rover festooned with “Just Married” signs to a reception on the castle grounds.
Harington and Leslie, who are both 31, met in 2012 on the set of the HBO fantasy series, where they played a couple as the characters Jon Snow and Ygritte. Leslie left the cast in 2014 and currently stars in US legal drama “The Good Fight.”
Harington credits Iceland as the backdrop to the beginning of their love story.
“Because the country is beautiful, because the Northern Lights are magical and because it was there that I fell in love,” he told L’Uomo Vogue last year. “If you’re already attracted to someone and then they play your love interest in the show, it’s becomes very easy to fall in love.”
In an interview with The Telegraph in June 2016, Leslie opened up about the relationship.
“He’s not a confrontational person so we don’t ever blow off steam,” she shared. “(He’s) a great man. I’m very proud of him. There’s an understanding that comes with the job, an understanding of being busy and when you have to say, ‘Sorry, I’m just going to bugger off for two months to film.’”
The couple announced their engagement with a notice in the Times of London newspaper in September.
“The engagement is announced between Kit, younger son of David and Deborah Harrington of Worcestershire, and Rose, middle daughter of Sebastian and Candy Leslie of Aberdeenshire,” the announcement read.
“We are absolutely thrilled for Kit and Rose to be marrying today,” Leslie’s father told assembled reporters before the ceremony. “It’s an absolutely lovely day for us.”
Talal Derki: ‘I’m not a part of this, but I have to understand’
Why the Syrian filmmaker risked his life for his Oscar-nominated documentary ‘Of Fathers and Sons’
Updated 22 February 2019
DUBAI: Of all the achievements of Arab filmmakers in recent times, Talal Derki’s “Of Fathers and Sons” may be the most stunning. The only non-American film nominated for Best Documentary at the 91st Academy Awards, which take place this Sunday, “Of Fathers and Sons” is the kind of film one might imagine making, but never believe could actually be made. It’s a story that Derki risked his life to tell.
For two and a half years, the Syrian filmmaker lived in northern Syria with Abu Osama, a member of the Al-Nusra Front (also known as Al-Qaeda in the Levant), and his family. There, he pretended to be sympathetic to their cause so that he could film them in an attempt to learn, first-hand, how young men become radicalized. Focusing on a father and his sons, the film lays bare in terrifying detail how young boys with kindness in their hearts find themselves in an Al-Qaeda training camp at a tender young age, all to gain the approval of their beloved patriarch.
“The idea started with my previous film,” Derki tells Arab News. “After the siege of Homs in my last film, ‘Return to Homs,’ after all the massacres, a lot of people on the ground moved to be more radical. It’s a war, but I started wondering how this movement managed to brainwash and bring all these people (over) to their side, and how they gained their trust. I saw a lot of kids with their fathers involved in fights. All these things put questions in my mind. I’m not a part of this, but I also have to understand.”
Derki didn’t want to make a film about the Syrian war or about violence. He wanted to examine life behind closed doors, focusing on the generation of young Syrian men raised in wartime. To do so, he had to go deep undercover.
After starting research for the film at the end of 2013, Derki used many ‘fixers’ to help him work his way into this close-knit community, gain people’s trust, and identify his subjects. He settled on Abu Osama and his sons. He convinced them that he was on their side, and was given intimate access to their lives in return — all the time aware that he could not let them know what kind of film he was actually making.
“Abu Osama wasn’t well known. He’s not the leader. What attracted me to him is how strongly he believed in what he was doing, in the ideology. When you look at him, he looks like a normal father, a lovely father,” says Derki. “This paradox between these two faces — between a lovely father and the father who is ready to sacrifice his kids in order to (realize) his ideology — this is part of my cinematic vision. If I went to a regular cliché jihadist, people would not watch the film. People would leave the cinema after five minutes, believe me.”
Though Derki managed to gain the trust of the family and the Al-Nusra Front, he was always conscious that no matter how friendly they were with him, he was never really creating a true connection with anyone he was filming. And he was powerless to create positive change while he was there.
“I was undercover as a sympathizer,” he says. “This is how they know me. I couldn’t be more than an observer. Sometimes, if I could, I would act as a merciful guy with the kids so they would not get punishment. I played that role. But in a big-topic issue, you couldn’t do anything but make your own film out of this chaos.
“I was connected to them only as a filmmaker, because, at the end of the day, if they knew I had a different purpose than what they thought, I would lose my life,” he continues. “When I had a good moment to film, I was satisfied and happy. As time passed, I had to accept all these things — all these ideas, all this behavior — without any (question). My mission there was to make a film.”
“Of Fathers and Sons” is purely observational. Derki keeps himself out of the story as much as possible, zooming in on a father and his son in everyday moments, in order to see how they interact, the love and trust they build, and the ways that a son’s dedication to his father is twisted to dark ends.
“The knowledge I got from this experience is about the roots of violence — the circle of violence — and the eternal relationship between the dictatorial father and his son; the masculine power that destroys our society,” Derki explains. “All of these things gave me more understanding that it all starts from childhood. Why does someone like me decide not to carry a weapon? If you grow up in a society in which your father, your teacher, are harming you, and punishing you by hitting you, and you’re used to receiving violence, then when you grow up you are very capable of carrying weapons and killing someone for any idea you start to believe in.”
By the second half of the film, the eldest son of Abu Osama is participating in an Al-Qaeda training camp. In one harrowing scene, the young boys are told to lie still on the ground while bullets are shot next to their heads and feet in order to teach them to lose their fear. Even now, years on from filming, Derki thinks about Abu Osama’s young children, hoping they can escape from the fate that already killed their father, who Derki says died at the end of 2018.
“Emotionally, I feel sad for the kids. They are still around 12 years old, it’s still possible to take them out of this and start a new life. Even in the moment when I was there, it was still possible,” he says. “They appreciate life. (But) in this ideology, they appreciate death. Death is their request — not life. Not humanity.”
Derki is speaking to Arab News from Los Angeles, ahead of Sunday’s Oscars ceremony. While there, Derki has had the chance to celebrate with the other Arab nominees, Egyptian-American actor Rami Malek and Lebanese filmmaker Nadine Labaki.
“It was great to meet them and to have some conversation — to be three nominees from the Arab world at the biggest global celebration. It’s very intense,” he says. “I hope that, in the upcoming year, this will bring more success for Arab filmmakers.
“Nadine said she liked it so much. And I liked her film,” Derki continues. “I really want to work with Rami in the future, he’s a very talented actor.”
Whatever happens at the Oscars, Derki hopes the attention his film has received will ultimately be a force for good in the Arab world.
“It’s about how we can protect the new generation in the other Muslim countries,” he explains. “What can we do to build a generation without violence, to focus more on life, love, and communicating with other cultures, instead of building walls around us?”