The Six: Instagram-worthy Dubai hotels

FIVE Hotel, now located on the Palm, is opening a new premium tower this year at Jumeirah Village Dubai, and it will have 271 swimming pools – one for every apartment of the 800-foot tower. (Supplied)
Updated 25 February 2019

The Six: Instagram-worthy Dubai hotels

Proving to be a hot destination for tourists around the world, a handful of affordable and premium hotels are set to be unveiled in Dubai before Expo 2020. Here are six sure to satisfy your Instagram followers...

Mandarin Oriental

One of the world’s great luxury hotel brands, Mandarin Oriental is finally opening in Dubai with a location in Jumeirah. Set to open in April, the posh hotel will include a 2,000-square-meter spa.

Studio One

A contemporary mid-range hotel, Studio One Hotel, located at Dubai Studio City, boasts a “millennial aesthetic” perfect for overnighters. It will open in March and have 141 rooms.

St Regis

The St Regis hotel brand, previously in Dubai at Habtoor City, will soon open up again in the Palm Tower, taking up 18 floors. It will have a mesmerizing infinity pool on the 50th floor.

Cote D’Azur

Scheduled to open in 2020, the Cote D’Azur is one of the 13 hotels to be unveiled at the Heart of Europe island, in the iconic World Islands. It promises to be a prime spot for beach activities.

FIVE

FIVE Hotel, now located on the Palm, is opening a new premium tower this year at Jumeirah Village Dubai, and it will have 271 swimming pools – one for every apartment of the 800-foot tower. 

Movenpick

This new Movenpick hotel is coming to Dubai Media City early this year – and it will offer 235 rooms, as well as a much-awaited rooftop bar that promises the best views of the Marina skyline.

 


‘It Must Be Heaven’: Elia Suleiman’s sardonic take on the world

Suleiman, who plays the lead role as himself, explores identity, nationality and belonging. (Supplied)
Updated 23 October 2019

‘It Must Be Heaven’: Elia Suleiman’s sardonic take on the world

MUMBAI: Elia Suleiman’s “It Must Be Heaven,” which was screened at the Mumbai Film Festival, is pure cinema. Like his earlier works, here too the Palestinian director uses wit, sarcasm and minimalism, this time to present a series of vignettes that are funny but also a powerful lambast of the world we live in. Suleiman, who plays the lead role as himself, explores identity, nationality and belonging.

He says people worldwide now live in fear amid global geopolitical tensions. Today, checkpoints are just about everywhere: In airports, shopping malls, cinemas, highways — the list is endless.

“It Must Be Heaven” was screened at the Mumbai Film Festival. (Supplied) 

Suleiman’s earlier features, such as “Chronicle of a Disappearance” and “Divine Intervention,” showed us everyday life in the occupied Palestinian territories. This time, it is Paris and New York. 

The first scene is hilarious, with a bishop trying to enter a church with his followers. The gatekeeper on the other side of the heavy wooden door is probably too intoxicated and refuses to let the priest in, leading to a comical situation. Suleiman’s life in Nazareth is filled with such incidents — snippets that have been strung together to tell us of tension in society. Neighbors turn out to be selfish, and only generous when they know they are being watched. 

The Palestinian director uses wit, sarcasm and minimalism, to present a series of vignettes that are funny but also a powerful lambast of the world we live in. (Supplied)

In Paris, the cafes along the grand boulevards, and the young women who pass by, are typical of France’s capital. But a cut to Bastille Day, with tanks rolling by in a show of strength, jolts us back to harsh reality. In New York, Suleiman’s cab driver is excited at driving a Palestinian. 

The film has an interesting way of storytelling. The scenes begin as observational shots, but the camera quickly changes positions to show Suleiman watching from the other side of the room or a street. The camera then returns to where it first stood, and this back-and-forth movement is delightfully engaging.

The framing is so perfect, and the colors so bright and beautiful, that each scene looks magical. And as the director looks on at all this with his usual deadpan expression, a sardonic twitch at the corner of his mouth, we know all this is but illusion. There is bitter truth ahead!