DUBAI: Jameela Jamil is set to join the Marvel Cinematic Universe. It’s been announced that the British-Indian-Pakistani actress and body positivity activist will be joining the cast of streaming service Disney+’s new MCU series, “She-Hulk,” premiering in 2022.
Jamil, who gained prominence for her role as Tahani Jamil on NBC’s “The Good Place,” is set to play Titania, who is the longterm arch nemesis of She-Hulk.
As reported by Cinema Blend, Jamil’s villainous character will have the superpowers of super strength and super stamina.
Meanwhile, She-Hulk will be played by “Orphan Black” star Tatiana Maslany.
The actresses will star alongside Renee Elise Goldsberry, Ginger Gonzaga and Tim Roth.
Deadline reports that Mark Ruffalo will make an appearance at one point as the Hulk.
“She-Hulk” was written by Jim Shooter and Matt Zeck in 1984.
The plot revolves around Maslany's character Jennifer Walters, who gets a blood transfusion from her cousin, Bruce Banner –better known as the Hulk. After the transfusion, Walters gains super strength and her skin turns green.
Jessica Gao from “Rick and Morty” is the lead writer, while Kat Coiro and Anu Valia are co-directing.
Jamil, who was born to a Pakistani mother and an Indian father in London, also stars in a new Disney Junior series, “Mira Royal Detective,” in which she voices the aunt of a headstrong young investigator.
Outside of acting, the star is also known for her activism and her I Weigh body positivity movement that she founded in 2018.
Jamil, who started her career as a model and a BBC Radio 1 presenter, is also an MC and a judge on the HBO Max series “Legendary.”
The influence of Islamic art on Cartier’s high-end jewelry
New exhibition shows how one of the world’s most glamorous brands drew inspiration from regional designs
Updated 24 min 26 sec ago
Julie de Los Rios
PARIS: Having already explored its links with Japan and ancient Egypt, the French luxury goods brand Cartier is now exploring the profound influence that Islamic art has had on the company’s history.
To do so, Cartier turned to the Louvre — home to both the Museum of Decorative Arts and the Department of Islamic Arts. The former hosts the largest collection of jewelry in France, while the latter contains a priceless and historic collection of artworks from the Islamic world.
The result is “Cartier and Islamic Art: In Search of Modernity,” an exhibition that runs in Paris from October 21 to February 20, and will then travel to the Dallas Museum of Art (DMA) in Texas.
Arab News spoke to Evelyne Possémé, chief curator of ancient and modern jewelry at the Musée des Arts Décoratifs, and Judith Henon-Raynaud, curator and deputy director of the Department of Islamic Arts at the Louvre — two of the four curators of the exhibition. (The other two curators are Thomas W. Lentz, curator of Islamic and medieval art at the DMA, and Sarah Schleuning, the DMA’s interim chief curator and The Margot B. Perot senior curator of decorative arts and design.)
The exhibition, based on research that began in 2018 at the Louvre into Louis Cartier’s personal collection of Islamic art, consists of more than 500 pieces, including jewelry and other objects from Cartier, along with drawings, books, photos and archival documents tracing the brand’s interest in Islamic arts.
“The museum had acquired two Indian ivory pencil boxes from the early seventeenth century, which were part of this hitherto unknown collection,” Possémé told Arab News.
The exhibition is organized as a themed chronological tour divided into two parts, the first of which explores the origins of Cartier’s interest in Islamic art and architecture through the cultural backdrop of Paris at the beginning of the 20th century and reviews the creative context, as designers and studios searched for sources of inspiration. It includes pieces from Cartier’s library, Louis Cartier’s personal Islamic art collection, and Indian and Iranian jewelry.
The second part of the exhibition is dedicated to pieces inspired by Islamic art, from the start of the 20th century to the present day, and draws heavily on drawings, jewelry and objects from collections belonging to the Musée des Arts Décoratifs and the Musée du Louvre, which were part of the first exhibitions devoted to the arts of Islam.
The gallery exhibits some major pieces inspired by Islamic art and as well as animations detailing the composition of the jewels and their patterns.
From the outset, visitors find themselves immersed in these shapes and motifs, with three of Cartier’s iconic creations set against masterpieces of Islamic art.
“The discovery of Islamic art at the beginning of the twentieth century had a significant impact on Cartier’s creators,” Henon-Raynaud explained. “Although famed for its garland-style jewelry, from 1904 onwards Cartier began developing pieces inspired by the geometric patterns of Islamic art found in books about ornamentation and architecture.”
The two curators cite enameled brick decorations originating from Central Asia and stepped merlons in the Art Deco style (a reference to the International Exhibition of Modern Decorative and Industrial Arts in Paris in 1925) as early influences on Cartier’s shift in its design philosophy.
“This source of inspiration is perceptible throughout the twentieth century in the creations of the house,” explained Possémé. “They were sometimes easily identifiable, at other times broken down and redesigned to make their source untraceable.”
The House of Cartier, founded in 1847 by Louis-François Cartier, initially specialized in selling jewels and artworks. It was only when Louis-François’ son Alfred took over the management of the company in 1874 — supported by his eldest son Louis in 1898 — that the house began to design its own jewelry, while continuing its activity of reselling antique pieces.
At the beginning of the twentieth century, Paris was a hub for trade in Islamic art. Thanks to major exhibitions organized at the Musée des Arts Décoratifs in Paris in 1903 and then in Munich in 1910, Louis Cartier discovered these new shapes that gradually permeated French society.
Jacques Cartier, an enthusiastic traveler, visited India in 1911 to meet various Maharajas. The gemstone trade was in full swing by that time, and allowed Cartier to build a strong relationship with the Indian princes, so he collected many antique and contemporary jewelry items, which he would either resell unchanged, use as inspiration, or dismantle for incorporation into new designs.
“The influence of Islamic art is also clear in (Cartier’s) use of bold color ranges — lapis lazuli blue, emerald green and turquoise, for example — at a time when jewels tended to be created using diamonds in monochrome settings,” Henon-Raynaud said. “Finally, shapes and construction of jewelry from Persia and India gave rise to technical innovations such platinum mountings, in order to gain flexibility.”
REVIEW: Mads Mikkelsen shines in darkly humorous revenge drama ‘Riders of Justice’
Anders Thomas Jensen delivers an unexpected, thrilling gem with this Danish action-comedy
Updated 05 August 2021
AMSTERDAM: Danish director Anders Thomas Jensen’s “Riders of Justice” initially presents as a straightforward vigilante revenge thriller. Mads Mikkelsen stars as military veteran Markus, whose PTSD is apparently clear to everyone but himself and his commanding officers, who ask him to extend his overseas tour by a further three months.
Soon after, his wife is killed in a train crash. Their teenage daughter Mathilde was present, but survives, as does statistics genius Otto, who had given up his seat for Markus’ wife moments before the crash. With the help of two ‘eccentric’ fellow geeks — abuse-survivor Lennart and the obese, spectacularly foul-mouthed Emmenthaler — Otto figures out that the train wreck was, in fact, no accident, but a scheme planned by the titular motorcycle gang (and organized crime outfit) to get rid of a key witness in the upcoming trial of their club president, Kurt Olesen.
Otto’s “facts” seem to stack up. But they were obtained illegally and cannot be taken to the police. So the three oddballs head to Markus’ house, where they explain that they believe his wife was an innocent victim of a carefully planned assassination. Markus vows to take revenge, and they agree to help him.
So far, so formulaic. But this is where “Riders of Justice” departs from its seemingly straightforward path, evolving instead into something original and unexpected — a musing on randomness and coincidence, an examination of camaraderie, and an exploration of love and grief and trauma. All with a healthy dose of very black humor thrown in.
Mikkelsen is excellent as the ultra-Alpha male Markus — his stoicism covering a storm of violence waiting to erupt as he tries in vain to quash his anger and grief at his wife’s death and his frustration at his inability to connect with Mathilde. But the supporting cast all play their part too. Each of the main characters is damaged in their own way — whether physically, emotionally or both — and while Markus is apparently the strongest (in all senses) of them, it becomes clear that the others have skills and strengths that he simply doesn’t possess, but that he will desperately need if he is to survive intact.
Jensen has crafted a hugely enjoyable, hugely original piece of work that deserves to be seen by a wide audience. Be warned, though, this is definitely not a family-friendly movie.
Dior is set to stage its first exhibition in the Middle East
Updated 04 August 2021
DUBAI: “Christian Dior: Designer of Dreams” is a new fashion exhibition coming to Doha, Qatar, later this year. Designed specifically for the Middle East, the forthcoming exhibition is a celebration of the Parisian maison, which is turning 75 in December.
Mark your calendars, for the exhibition will take place from November 2021 until March 2022 at Doha’s M7 art center following successful stops in Paris, London and Shanghai.
With special curation by Olivier Gabet, the Director of the Musée des Arts Décoratifs, the hotly-anticipated exhibition will feature a lineup of memorable pieces that have defined the heritage fashion house, such as the iconic Bar Jacket, an iconic garment instantly-recognizable by its cinched waist from Monsieur Dior’s revolutionary 1947 collection as well as other objects that fashion enthusiasts will revel in.
Also on display will be original sketches by the legendary designer for his couture collections, a baccarat blue crystal limited edition Miss Dior perfume bottle from 1947 and haute couture creations by succeeding Dior creative directors such as John Galliano, Raf Simons and Yves Saint Laurent.
The “High School Musical” actor posted a behind-the-scenes still to his Instagram account, tagging Craig Gillespie, the Australian director who has worked on films including “I, Tonya” and, most recently, “Cruella.”
The ad was reportedly shot in the emirate in February.
At the time, images circulated on social media of the “Baywatch” star surrounded by film crew members on the beach in Jumeirah, close to the Burj Al-Arab.
Dubai Tourism is no stranger to recruiting A-listers to feature in promotional videos.
Past stars to feature in campaigns include Bollywood star Shah Rukh Khan and US actress Gwyneth Paltrow.
In 2019, Khan invited Paltrow to Dubai as part of his #BeMyGuest campaign.
Later that year, the Goop founder returned to Dubai to film a tourism campaign and short film, “A Story Takes Flight,” alongside Hollywood stars Zoe Saldana and Kate Hudson.
The models include typical houses and traditional shops that served fava beans, barbecued meat, kebabs and mabshoor, a traditional Arab dish of bread in a meat or vegetable broth. (Photos/Huda Bashatah)
Why this retired engineer is a ‘model’ Saudi citizen
Abdul Aziz Taher Al-Hebshi aims to preserve the history of social and cultural life in Saudi Arabia
Makkah in those days was a beacon for writers, poets and scientists
Updated 04 August 2021
MAKKAH: A Saudi agricultural engineer is spending his retirement years helping to preserve the Kingdom’s architectural and cultural history — in the form of extremely accurate models of important buildings and sites in Jeddah and Makkah.
Now Abdul Aziz Taher Al-Hebshi has turned his house in Jeddah’s Al-Rawdah neighborhood into an exhibition space to showcase his models, which represent a fascinating record of daily social and cultural life in the cities in the early-to-mid 20th century.
A good example of this is his model of a “writer’s cafe” in the Misfalah neighborhood of Makkah that was once popular with writers, intellectuals and poets. Through it, he said, he aims to immortalize the role these figures played in the development of literature in Saudi Arabia and the country’s cultural history.
“Knowledgeable people told me that the cafe where Makkah’s writers, poets and intellectuals used to go to was Saleh Abdulhay Cafe, located next to Bajrad Cafe,” 72-year-old Al-Hebshi told Arab News. “Similar cafes were found throughout Makkah’s Misfalah neighborhood in the past.”
He said culture and literature thrived in Makkah in those days, along with the study of science and the quest for knowledge. The city was therefore a beacon for writers, poets and scientists, and the Saleh Abdulhay Cafe was one of the places where they could gather for intellectual and cultural discussions.
“Among the cultural and intellectual figures that used to go to the writer’s cafe … was the Saudi Minister of Culture Mohammed Abdu Yamani,” he said, adding that such venues were the country’s first literary and cultural forums, where people could gather to discuss literary and intellectual issues.
With his models and exhibition, Al-Hebshi said he wants to depict and preserve this history of day-to-day life and culture in Makkah and Jeddah in days gone by. In addition to the cafe, his models include typical houses and traditional shops that served fava beans, barbecued meat, kebabs and mabshoor, a traditional Arab dish of bread in a meat or vegetable broth.
In particular, he said he wants to immortalize the lives of the intellectuals and writers of the era by documenting their daily lives, the ways in which people interacted with them and how neighborhoods such as Misfalah developed as important cultural centers.
So far he has spent three years building his models of cafes, shops, houses and public squares. He has completed four and is working on a fifth. The task requires hard work and patience, he said. For example, it requires great effort to accurately recreate in miniature the rawasheen, the elaborately patterned wooden window frames found in old buildings in Makkah and Jeddah that maximize natural light and air flow. Great accuracy is required throughout the model making process when it comes to the sizes, dimensions and scale.
“One meter in real life is 10 centimeters in the models,” Al-Hebshi said, which represents a scale of one-to-10. “This measure seeks to maintain, as much as possible, the space’s real dimensions.”
The contents of rooms must also be in scale with the building and each other, he explained: “A bottle of Coca-Cola cannot be bigger than a watermelon and so on.” These are all important details in his models, he added, which ensure they are accurate and consistent.
Given the incredible detail and quality of the models, you would be forgiven for thinking Al-Hebshi is a trained carpenter; in fact he is an enthusiastic amateur with a true passion for the craft. Such is his dedication that even hand injuries — and the need for surgery after damaging a finger with a drill — have not kept him from his work for long.
Abdul Aziz Taher Al-Hebshi says he was inspired by Jeddah’s Old Town and its magnificent Hijazi buildings with rawasheen, beautifully crafted doors, ornate engravings and delicate details, along with the beauty of its landscape and old streets.
He said his model making began after he found some tools that had been abandoned in a carpentry shop, and for materials he used wood and discarded kaftans he found in stores he shopped at. Wood cutting requires great skill, he added, and while he makes most parts of his models, he said he imports some items from abroad to ensure the highest levels of accuracy. For example he buys miniature signs advertising popular international brands such as Pepsi, Miranda and 7-Up, which are difficult to recreate through woodworking.
Al-Hebshi was director of the Agricultural Bank in Jeddah when he was forced to retire in 2006 as a result of a back injury, and he found himself wondering what he could do with his time. A few years earlier he had developed an interest in woodworking but the demands of his job left him with little time to pursue it. A friend who was aware of this suggested he do something with the wood from a large felled neem tree that had been dumped in Jeddah.
“That tree turned out to be the start of me professionally building models,” he said. He added that he was inspired by Jeddah’s Old Town and its magnificent Hijazi buildings with rawasheen, beautifully crafted doors, ornate engravings and delicate details, along with the beauty of its landscape and old streets. The Saudi leadership has put a special focus on the area to showcase its history and splendor and Al-Hebshi said that this has helped him research his detailed designs.
He added that he welcomes all those who wish to visit his house, in Al-Rawdah neighborhood 3, to see his models. He plans to build more to add to his incredible picture of past life in the Kingdom, and the people who helped the country become the nation it is.