DUBAI: China’s Beijing Daxing International Airport (BDIA), designed by the late Iraqi-British architect Zaha Hadid, opened on Wednesday.
Hadid, who died in 2016, designed the $11 billion airport in the shape of a starfish. It is said to be the world’s largest single-building airport with a 700,000 square metres passenger terminal.
The airport has four runways and 268 parking bays that are said to accommodate 620,000 flights per year, China Daily reported. The long-term goal for the new airport is to handle up to 100 million passengers and four million tons of cargo each year.
China Southern Airline was the first flight to take off, at 4:23 p.m. local time.
The airport is located 46km south of the capital’s city center and is expected to serve 45 million passengers a year.
Seven domestic airlines are already operating from BDIA.
‘It Must Be Heaven’: Elia Suleiman’s sardonic take on the world
Updated 23 October 2019
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.
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.
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!