Only one woman has ever won the Palme d’Or in its 73 years: Jane Campion for “The Piano” in 1993.
This year’s jury will wade through 24 entries (only four by women) to decide the winner of the arthouse world’s most coveted film prize.
The nine members include French actor-director Melanie Laurent, best known abroad for her role in Quentin Tarantino’s “Inglourious Basterds.”
The jury also features several international filmmakers: Brazilian Kleber Mendonca Filho, who competed at Cannes in 2016 with “Aquarius”; Austrian Jessica Hausner, who competed with “Little Joe” in 2019; and French-Senegalese director Mati Diop, whose debut “Atlantique” won the Grand Prix the same year.
Rahim made his name with indie favorite “The Prophet” and recently had an award-winning turn in Guantanamo drama “The Mauritanian” and a TV hit with the BBC-Netflix show “The Serpent.”
Rahim is not the only Arab joining the jury for this year’s Cannes.
Last week, the festival announced that Tunisian filmmaker Kaouther Ben Hania and Egyptian director Sameh Alaa will be part of the short film jury.
5 wedding dresses with wow factor from fall 2021 couture shows
Updated 30 July 2021
DUBAI: The recent Paris Haute Couture Week brought with it an array of wedding dresses that brides-to-be – and even those not yet engaged – will surely have their hearts set on.
For this year’s fall, Middle Eastern couturiers have presented a range of ethereal dresses for the big day. Here are the best wedding dresses by the industry’s top Arab designers from fall 2021 couture shows.
The Lebanese fashion designer closed out his fall 2021 couture show with a glamorous, heavily embellished bridal gown embroidered with intricate pearls that evoked the opulent chandeliers of a palazzo on Venice’s Grand Canal.
The embroidered buds and petals that emerge and unfold across the princess-worthy gown are emblematic of rebirth and renewal.
Fit for royalty, Kadi’s couture bridal gown is delicately embellished with crystals, sequins, and beads in a baroque design.
The ethereal, pure white gown is adorned with symmetrical crystals and a cape nouveau pouring from the shoulders in white tulle with ribbons of satin.
As with every Georges Hobeika creation, embroidery and embellishments played a big role in amping up the glamour on this off-the-shoulder gown.
The Kuwaiti chef and entrepreneur on cheese-melt goodness, the brilliance of butter, and taking inspiration from his dad
Updated 30 July 2021
LONDON: On a fine London afternoon, Kuwaiti chef Ahmed Al-Bader sits in Chestnut Bakery. It is one of four successful food ventures he’s co-founded and currently co-manages — the other three being the beef canteen Habra, and Lunch Room — a “social-dining venue” — both in Kuwait, as well as GunBun in Riyadh.
Al-Bader has made a name for himself in the regional and international culinary scenes thanks largely to the consistent quality of his food, which is partly down to his systematic approach to cooking and baking.
“This is the core of success,” he says. “Things have to be written down. For the past 10 years I’ve been writing my recipes, not cooking them. When you reach this point, you have to be very experienced and to know exactly what is right. Recipes are written based on the palette — the acidity, sourness, bitterness, and sweetness; that’s how I create the balance.”
Q: What’s one ingredient that can instantly improve any dish?
A: Butter. It’s has a fatty flavour. It’s soothing and it hits the palette. Sometimes you can have a loaf of white bread and still feel empty. But on other days you can have two or three spoons of peanut butter and some honey and feel happy.
What’s your favorite cuisine?
I love Chinese food, and Indian. Anything that (Wagamama founder) Alan Yau does always inspires me. He’s one of the ‘guru’ concept developers I’ve met. I respect how he thinks and works and I’ve learned a lot from him. The same applies to Yotam Ottolenghi and Sami Tamimi (co-owners of six delis and restaurants in London). I have the greatest respect for them.
What’s the most common issue you find when you eat in other restaurants?
Dining out is never for competitive purposes. Knowledge is always my objective — I want to learn how to do something. But not to compete. My objective is always to build something with value.
What’s your go-to dish if you have to cook something quickly? And why?
A cheese melt sandwich. Good cheese and good bread. It’s soothing. And you can play with it — you can put pickles, mustard, or roast beef or chicken. And use a good 60 grams of butter; that will give you a solid foundation.
What’s the most annoying thing customers do?
Customers are never annoying. As long as they’re not insulting one of the waiters or insulting us, I’ll respect whatever they have to say. I’m here to serve them.
What’s your biggest challenge as a restaurateur?
Food handling, especially critical items like protein and fish that need to be transported. I don’t risk having a lot of them in my concept because of the heat and handling. Freshness is very important in these protein concepts. That’s why I simplify things through process cooking or curing, et cetera. That’s what I do to avoid any bacterial growth.
What’s your favorite dish to cook?
Grilling and barbecuing reminds me so much of my dad. Prepping instant salsas is also one of many things I learned from him. He’s probably been making chimichurri for 30 years but in his own way, with a lot of coriander and garlic. He’s always been a host. Hosting is very important to me.
I also love slow cooking. I love cooking tongue — beef or lamb — and this I also got from my dad. I remember he used to slice it and eat it with mustard. And I always loved that.
Here, Al-Bader offers some cooking tips and a recipe for a tasty beetroot dish (although it requires a sous-vide machine).
Kate Beckinsale unleashes her fists of fury in a silly, fun quest for revenge
Updated 30 July 2021
LONDON: If, like most people, you checked out the trailer for Amazon Prime’s new action comedy “Jolt,” you’ll have saved yourself from sitting through the first five minutes of this entertaining, if somewhat predictable, beat-em-up movie in which an off-screen narrator explains that seemingly sweet kid Lindy suffers from uncontrollable bouts of rage and cortisone-fueled superstrength that only a self-administered electric shock (the jolt of the title) can quell.
Flash-forward past the exposition-heavy intro and Lindy, now played by Kate Beckinsale, continues to zap herself out of flashes of unwarranted violence and fantasizes about killing her therapist, played by Stanley Tucci.
After such a laborious setup, director Tanya Wexler eventually gets to the good stuff. Lindy meets a nice guy on a blind date, only for him to wind up dead — so she decides to stop zapping herself back to calmness, and instead punch her way to whomever is responsible.
The premise is akin to a zany “Taken” and, thankfully, doesn’t take itself too seriously. Beckinsale is a blast, clearly having fun with upending the tired trope of repressed female fury as she quips and scissor-kicks her way to the men responsible for her murdered beau. What’s more, she’s ably backed by a stellar supporting cast, including Bobby Cannavale, Laverne Cox, Jai Courtney and Susan Sarandon.
“Jolt” is fun, rather than dumb, because, like Beckinsale, the talented cast see it for what it is — 90 minutes of ass-kicking, physics-defying, nonsensical setups for Lindy to beat the snot out of roomfuls of nameless, cookie-cutter male stooges. There’s a well-signposted twist that won’t surprise many, and a setup for a sequel (probably a franchise) once the dust has, quite literally, settled. But you know what? If it stays this silly, that’s not necessarily a bad thing.
Afghan-Pakistani designer Osman Yousefzada unveils world’s largest canvas at UK store
Updated 29 July 2021
DUBAI: Afghan-Pakistani designer and artist Osman Yousefzada has unveiled a world record-breaking new artwork for the UK Selfridges store in Birmingham, the city where he grew up.
Titled “Infinity Pattern 1,” his pink and black tessellated installation that wraps around the futuristic curved facade of the department store, was co-commissioned by the city’s Ikon Gallery and Selfridges Birmingham.
The 44-year-old was selected by Ikon art gallery as the winner of its international competition.
The gigantic, public installation, which measures in at 10,000 square meters and weighs five tons, will adorn Selfridge’s storefront until the end of the year while it undergoes restoration.
The son of Afghan-Pakistani immigrants, the designer-turned-artist said his giant canvas addressed issues of race, labor, and migration which had shaped the city’s past and present.
“Infinity Pattern 1,” Yousefzada’s first piece of public art, is also a record-breaker, having been confirmed as the world’s largest canvas.
As a fashion designer his tailored pieces have been worn by the likes of American singers Beyonce, Lady Gaga, and Taylor Swift. In addition to his celebrity loved eponymous label launched in 2008, Yousefzada is also known for his multi-disciplinary artwork that tackles the socio-political issues of the day.
He held his first solo art show titled “Being Somewhere Else” at Ikon Gallery in 2018, exploring the links between fashion and migration.
Actor Waleed Zuaiter: ‘For the first time, I have a real, genuine voice’
The BAFTA-nominated actor on the frustrations of typecasting and the joys of ‘Baghdad Central’
Updated 29 July 2021
DUBAI: The road to success is rockier than most care to admit. Even years past that first big break, the life of an actor is often a stop-and-start existence, with work drying up when you need it most.
In 2011, Palestinian-American actor Waleed Zuaiter —now one of the most acclaimed Arab actors in the world having secured a BAFTA nomination in 2021 for his starring role in “Baghdad Central” — was experiencing one of those lulls. The big roles weren’t coming and it was affecting him more than he let on.
It had only been two years since he starred opposite George Clooney in “The Men who Stare at Goats,” and here he was, a family to take care of, wondering whether he should continue pursuing his dream or give up acting entirely.
It was then that he got a call from the creators of a new series called “Homeland.”
“I remember, ‘Homeland’ came around (at a time when) we couldn't pay our rent. It's as simple as that,” Zuaiter tells Arab News.
They wanted him to play a terrorist. It was something he really didn’t want to do.
Earlier in his life, Zuaiter had never imagined he would be viewed as an outsider in America. Born in the US, he moved with his family to Kuwait and at the age of five, growing up in the Gulf, he had no concept of himself as ‘different’ in any way, attending an American school with a diverse array of friends and interests.
“I never grew up with real racism. (Kuwait) was a small country. My dad's best friend was Sudanese, and so I had no concept of a separation between races. I had friends from all over, and we were listening to hard rock and heavy metal like AC/DC and Iron Maiden,” says Zuaiter.
Zuaiter had a sense of himself, but the dream of becoming an actor meant to him — as it does to most actors — the ability to become anyone. It wasn’t until he got into the industry that he realized that ‘becoming anyone’ wasn’t really on the cards for Arabs — that they tended to be put into a very small box, even if it’s sometimes a box made with the best of intentions.
“When I came into acting, I didn't see it as, ‘I'm originally Arab, I have an Arabic name, I should only be up for Arab roles.’ But that's kind of how the industry works here. Even if you're like me, and you don't speak with an accent, and you're American. The industry thought, ‘Oh, this is a very hot topic, there's material that's coming out. Let's look for the people that can bring authenticity to it.’ There was a good intention there, but what winds up happening is you get pigeonholed. That was very frustrating for me,” says Zuaiter.
“I just wanted to make movies like Jon Favreau’s ‘Swingers.’ Those are the kinds of roles and stories that I'm interested in playing. But the TV roles I was offered were terrorists.”
Zuaiter took the role in “Homeland,” and while the experience ended up being a positive one, as Zuaiter was able to imbue the menacing role with nuance, depth and humanity, in a space that allowed him to do that, it wasn’t where he ultimately wanted to be. The producers were so impressed that they asked him to come back as another character. This time, he refused. He knew what he needed next, and it was a story that came from the Arab world rather than gazing at it from afar.
So Zuaiter got in touch with an old friend, Hany Abu Assad, the acclaimed Palestinian director behind “Paradise Now,” whom he had met years earlier.
“A mutual friend said to me, ‘You should get in touch with Hany, because he's written something that's really, really great.’ I called him, and he said ‘Yes, and I actually wrote a role for you in this.’”
Zuaiter would end up doing more than lending his acting talents. He got together his Palestinian family and friends and they made the film — 2013’s “Omar” — using their own capital. The film earned an Oscar-nomination, one of only two Palestinian feature-length films in history to have been nominated.
“Essentially, I raised the whole budget, I brought on my brothers, and they helped bring in some other investors. Hany had that same ambition of ‘Let's get our own people to invest in us.’ And that’s what we did,” Zuaiter explains. “Around 95 percent of the investment for Omar was Palestinian private equity, with another 5 percent from Dubai. And we're very thankful for it. It was rewarding on so many levels.”
The experience would embolden Zuaiter, allowing him to enter the next phase of his career, working across genres and continents until he was finally able to land the biggest role of his career, the lead in a prestige TV drama that portrayed Iraq as Hollywood never had before — “Baghdad Central,” now streaming on Starzplay Arabia.
“What did this show give me? It gave me a voice. I learned to trust myself. I learned so much about the craft, so much about responsibility. For the first time, I had a real, genuine voice from the very first rehearsals, and I learned how to wield it. And to do that playing an Arab hero — not a terrorist — was such an honor, especially because we very rarely get to see it,” he says.
Zuaiter was also struck by the show’s ability to not only amplify the voices of those that are so often marginalized, but to do so while also making the Iraqi characters’ American and British foils three-dimensional as well, giving the show a richness that it would not otherwise have had.
The experience helped turn Zuaiter into the leader that he never knew he could be, both on screen and off. He has now founded a production company with his wife Joana, whom he credits with saving his career again and again, called FlipNarrative.
“So much of our identity as a company is the embodiment of who we are. Our mission is to amplify the voice of underrepresented and historically misrepresented voices around the world, starting with a focus on stories coming out of the Middle East,” Zuaiter says. “We’re a global mission-based company, because we realize there’s a global audience out there and we have always felt like insider-outsiders, allowing us to bridge those borders and make those connections.”
FlipNarrative has already announced six projects from across the Arab world. But first Zuaiter’s tackling another dream, a pure actor’s dream — playing someone totally outside his own lived reality. As the villain in the upcoming second season of British crime drama “Gangs of London” he won’t be an Arab at all, he’ll be playing a Georgian. It’s an experience he’s already reveling in.
“I just want to expand the types of roles that I play. I want a sense of play. They said, ‘Listen, if you want to play him as Palestinian, we can do that’. I said, ‘No, I played enough Palestinian gangsters. I would love to play a Georgian gangster, That's exactly why I'm an actor,’” he says. “Hopefully, there’ll be more of those roles. I just want to be free.”