DUBAI: Saudi Arabia’s “NEOM: ‘Made to Change’” advert is nominated for the 26th Art Directors Guild Awards, organizers announced on Monday.
The live in-person event, scheduled to be held on March 5 in Los Angeles, honors production design in theatrical motion pictures, music videos, animated feature films, television shows and commercials.
The 90-second video shows how the $500 billion smart city in the Tabuk Province of northwestern Saudi Arabia will accelerate the human drive for progress through technology, energy, sustainability, mobility and more.
The commercial’s production designer is François Audouy.
Among the nominees for the commercials category is “Gucci: ‘Aria,’” “Apple Music: ‘Billie Eilish — Happier Than Ever,’” “Apple: Introducing iPhone 13 Pro” and more.
“Dune,” the science-fiction epic shot in Abu Dhabi, earned recognition in the fantasy feature film category, alongside “Cruella,” “Shang-Chi and the Legend of the Ten Rings” “Ghostbusters: Afterlife” and “The Green Knight.”
Exclusive: Netflix’s Tinder Swindler stars recount transformation from victim to inspiration for women
Norwegian-born Cecilie Fjellhoy and Stockholm native Pernilla Sjoholm to deliver special keynote address at Arab Women Forum
Defrauded by a con artist, they have hit back by speaking up about their experience of romance scams
Updated 17 May 2022
DUBAI: Just swipe left. At least that is what many an indecisive Tinder user may have found themselves doing after the notorious case of the dating app fraudster dubbed the “Tinder Swindler” came to light in an explosive Netflix docu-drama earlier this year.
Despite being defrauded by the conman, Norwegian TV personality Cecilie Fjellhoy and Swedish business owner Pernilla Sjoholm are hitting back by speaking up about their experience.
The women will appear during a special keynote address titled “When women fight back” at the Arab Women Forum, held in partnership with Arab News, at the Palazzo Versace Dubai on May 17.
“It was very traumatic,” Sjoholm told Arab News, reflecting on her experience ahead of Tuesday’s forum appearance. “It wasn’t only about the money you have lost. You have lost the way you viewed yourself, how you viewed everything.
“I used to think about fraud as: ‘Oh my God, who gets defrauded? You must be of lower intelligence or something.’ And I’m very embarrassed to say this today, because of what I lost.
“I was 31 years old, and it was not the way I would have imagined my life to be. To lose everything. You also lose your soul.”
Based on an expose by Verdens Gang, a Norwegian tabloid newspaper known under the abbreviation VG, the program unearthed the story of Israeli national Shimon Hayut, who allegedly posed on the dating app Tinder as Simon Leviev, claiming to be the son of a diamond mogul.
Hayut notoriously charmed women and persuaded them to loan him money, swindling an estimated $10 million from people across the globe.
According to reports, Hayut followed a pattern. After matching with unsuspecting women on Tinder, he would take them on a lavish first date and slowly build up a relationship, all the while dating other women.
Eventually, the fraudster would confide in them that a nefarious set of “enemies” were after him, persuading the women to send him money on the understanding that he would quickly pay them back.
After a nifty piece of counter-swindling by one woman, Ayleen Koeleman, who had been alerted to the con by the expose in VG, Hayut was arrested in 2019 and sentenced to 15 months in prison for fraud in Israel.
However, Hayut served only five months behind bars before being released. He has never been charged for crimes related to Fjellhoy and Sjoholm, and denies their claims of fraud.
And the story does not end there. In a shocking twist, Hayut is now pursuing a Hollywood career, while the women he targeted remain in debt to this day.
“We were very disappointed,” said Sjoholm. “Unfortunately, there is no extradition from Israel to Europe. So he’s still there.
“We don’t think that they handled this case properly and they should have. And, unfortunately, that is the way it happens in a lot of fraud cases. I mean, I just know the numbers in Sweden. They drop 96 percent of all the cases they get, because they have too much.”
Instead of consigning themselves to a life of victimhood, both Sjoholm and Fjellhoy are working to inspire women across the world to identify and fight back against romance scams.
“We have talked about a lot of the shame that surrounds fraud and I think that it’s so important to stand up and say that this could happen to anyone,” said Sjoholm.
“Because it’s so common that fraudsters get away with fraud due to people being scared of sharing their story. So I definitely know that we helped a lot of people and hopefully will help a lot of people in the future as well.”
According to Action Fraud, the UK’s national reporting center for fraud and cybercrime, the majority of victims of romance fraud are women. Sjoholm believes women are specifically targeted for their perceived emotional vulnerabilities.
“I think that we women are more emotional people,” she said. “These fraudsters work a lot with emotions, because it is a form of emotional abuse.”
The Tinder Swindler case has raised many questions about what responsibility dating apps ought to hold for romance scams and what more they could be doing to safeguard users.
“I don’t feel like there was a lot that the dating app could have done in our case,” said Fjellhoy, also speaking to Arab News ahead of the forum.
“I feel like just doing proper identity checks so you can’t catfish someone, for example. We see that they have some, but I feel like fraud is much larger than just what happens on the dating app. They take you away from the dating app. It’s just one avenue of many that fraudsters are using.”
Beyond dating apps tightening their safeguards, there have also been calls to improve awareness in schools so that young people are better equipped to spot catfishing — the use of fake accounts to lure victims — and romance scams.
“If you’re going to educate young people, maybe teach them more about what kind of different people exist in the world,” said Fjellhoy.
“There are some people that don’t have empathy, there are psychopaths and narcissists who will take advantage of your empathy and those types of things. But I think it’s important to not put too much emphasis on us as victims as well.”
Indeed, there is a danger of victim blaming if the responsibility for spotting scammers is placed on users, when the onus ought to be on clamping down on fraudsters.
“We didn’t do anything wrong here,” said Fjellhoy. “And fraud will always happen. But, when fraud happens, how do we, as a society, talk about how to stop it?”
Nevertheless, there are several red flags that dating app users can look out for, says Sjoholm, including “love bombing” — the practice of lavishing someone with attention or affection with a view to influence or manipulate them.
However, Sjoholm believes that the very nature of social media makes it difficult to determine the truth about someone. “When it comes to social media, it is entirely about everyone wanting to show off their best side,” she said.
“Everyone wants to show off the good parts. When it comes to social media, I would say that 95 percent is just fraud in general.”
The mental health repercussions of romance fraud cannot be understated, as victims grapple with both the financial fallout and intense feelings of shame. “Regarding how your mental health is when you realize you’ve been defrauded, I think, for me, why I felt so low that I ended up in a psychiatric ward is that no one took you seriously,” said Fjellhoy.
“And I feel like, for example, you go to the police and they just brush you off. And I tried to contact the banks and they told me: ‘Well, you still need to pay down the loans.’ And you’re still mentally low. It’s double — emotional and economic. You see no way out.”
As a result of her ordeal, Fjellhoy established the Action Reaction Foundation to focus on the mental health challenges of survivors and to lobby for stronger laws as well as policies to protect victims.
One of the lasting effects of the ordeal is an inability to trust others easily. “I’m still having trouble with trust,” said Sjoholm.
“I have more good days than I have bad days. But even on my good days, when someone does something very nice toward me, I can sometimes feel like there’s an agenda behind it. That someone is there to hurt me.
“I can still socialize. I can meet new people, but I’m having a very hard time to really talk to people. I don’t want to take away trust. You should be trusting people, you should be helping people, because that is what makes this world better. But, of course, this has been a tremendous trauma.”
For Fjellhoy, it is also about having trust in the system to protect victims and take their claims seriously.
“That the police will be there to protect you, that if you go to the bank, and you’re saying you’re being defrauded, you can get some peace and quiet to figure things out, that they will give that to us,” said Fjellhoy.
“Just so many things that could have made everything that happened afterward much easier, which would have made the fight easier.”
For others who have fallen victim to romance scams, Fjellhoy’s advice is to speak up.
“Please report it to the police, no matter what,” she said. “We know that it hasn’t gone our way. But they need to know about all cases so they can see how big it actually is.
‘Oussekine’: An immensely sad story of racist brutality
Updated 16 May 2022
CHENNAI: Antoine Chevrollier’s four-part miniseries, “Oussekine,” is a dramatization of a ghastly event that happened one night in the center of Paris.
Malik Oussekine, barely into his twenties, meets a terrible end when policemen on motorcycles chase him into a building and brutally beat him to death. He had no criminal record, no political affiliations or sympathies. But he was an Algerian Muslim.
The series follows the Oussekine family, of a mother and her five children, who had left Algeria and made France their home, soon becoming citizens. They are proud and happy to be French, but are never allowed to forget that they are from another country.
The first episode of “Oussekine” begins on the evening of Dec. 5, 1986. While students are demonstrating on the streets of Paris against the Devaquet law, Malik Oussekine (Sayyid El Alami) is watching a concert by Nina Simone in Saint-Germain-des-Pres. He is excited about it, and before leaving home gently refuses to have the potato wedges his mother, Aicha (Hiam Abbass), has made. He says he would be late for the event and rushes out.
Post-concert, he is walking back home, happy about the entire evening, when he finds himself chased by police officers on motorcycles. He runs away and takes refuge inside a building, but a couple of men in uniform get inside and brutally beat him. Later as the episodes unfold, we learn all about the disillusionment, frustration and anger that are rampant in the force. And Malik was an unfortunate victim who was in the wrong place at the wrong time.
The death is revealed in layers over the episodes, each about 60 minutes. Chevrollier packs in enough surprises to keep us glued to our TV sets, but the series does have its weak moments, giving us a feeling that it is not flowing as easily as it ought to be with some flashbacks appearing a bit confusing. The courtroom scenes are often listless, the only dramatic high coming from Malik’s sister, Sarah (Mouna Soualem), who at one point tells the two accused police officers not to dare look her in the eye. Some of the retorts made by the lawyer for the Oussekine family, Georges Kiejman (Kad Merad), are pointed and damning. Is this country not founded on the principles of liberty, equality and fraternity, he asks.
While Malik’s other siblings, Mohamed, Benamar and Fatna, make little or no impression, it is Sarah who is unforgiving. “Why are the accused not in handcuffs?” she questions the lawyer. Closest to her brother, she is as devastated as her mother, and the two actresses brilliantly convey a sense of immense sadness and helplessness.
Yet, the series does not moralize. Rather, it reminds us that life must continue. Acceptance is perhaps the greatest balm.
British-Moroccan model Nora Attal is Tiffany & Co.’s newest campaign star
Updated 16 May 2022
DUBAI: Luxury jewelry house Tiffany & Co. teamed up with British-Moroccan model Nora Attal for its striking Elsa Peretti Bean Designs collection lensed by fashion photographer Sharif Hamza. In charge of creative direction was Ruba Abu-Nimah.
In the campaign video and photos, Attal is seen wearing dramatic statement pieces from the luxury jewelry brand’s latest offering designed by the late Italian jewelry designer whose creations for Tiffany & Co. are showcased in the collections of several art institutions, including the 20th century collection of the British Museum.
Attal dons hand-carved green jade and 18k gold necklaces and bean-shaped pendants adorned with silk cords, nets and tassels handwoven by artisans in Japan.
Peretti, who died in 2021, created her famous Bean design for Tiffany & Co. in 1974 during her first few years with the house. The jeweler saw the bean, a seed, as a symbol of life’s origins. Over the years, the bean motif has been reimagined at Tiffany & Co., from pendants and clutches to earrings, bracelets and other accessories.
Speaking about the collection, Alexandre Arnault, executive vice president of product and communications at Tiffany & Co., said “Elsa Peretti’s legacy in the world of design and fashion cannot be overstated. The reintroduction of Peretti’s ‘Bean’ designs allows us to honor her creative influence using the same materials and forms that you see throughout her design vocabulary to expand on one of her most celebrated collections.”
First photos of Lyna Khoudri in upcoming drama ‘Nos Frangins’ unveiled
Updated 15 May 2022
DUBAI: French film distribution company Le Pacte has unveiled the first look at “Nos Frangins,” or “Our Brothers,” starring French-Algerian actress Lyna Khoudri, ahead of its global premiere at the upcoming Cannes Film Festival.
The hotly anticipated new film by three time Oscar-nominated director Rachid Bouchareb is launching in the Cannes Première section and tells the harrowing true story of French-Algerian student Malik Oussekine, who died in police custody in 1986, following several weeks of student protests against a university reform bill.
Khoudri stars in the film alongside a stellar cast that includes fellow French-Algerian actor Reda Kateb, Raphael Personnaz, Samir Guesmi and newcomer Adam Amara.
In the photos, the Algeria-born actress is pictured walking down the street alongside Kateb.
It is not yet known what role the 29-year-old is playing.
It is not the first time that Oussekine’s tragic tale has been adapted for the big screen. The 1995 French film “La Haine,” starring Vincent Cassel, Hubert Koundé and Saïd Taghmaoui, was largely inspired by the case of the 22-year-old student protester who died after being badly beaten by riot police after a mass demonstration in 1986, which he did not take part in.
The story is also being examined in “Oussekine,” a Disney+ series directed by Antoine Chevrollier that follows his family’s fight for justice.
Khoudri made her Cannes Film Festival debut last year during the premiere of Wes Anderson’s 2021 comedy “The French Dispatch” in July.
She is part of an ever-growing list of Arab stars working their way up the Hollywood ladder.
The Venice Film Festival Orizzonti prize winner is set to star in French-Algerian director Mounia Meddour’s new drama “Houria,” and most recently appeared in the period drama “La Place D’Une Autre” and “Haute Couture.”
She is also set to appear in a new two-part adaptation of Alexandre Dumas’ classic French novel “The Three Musketeers,” in which she will star opposite Francois Civil as his love interest Constance D’Artagnan, formerly Bonacieux. In addition, Khoudri is shooting “Novembre,” a Cedric Jimenez-directed thriller about the French anti-terrorism services during the hunt for suspects after the 2015 Paris attacks.
Folk rappers from Ukraine win Eurovision in musical morale boost
Kalush Orchestra beat out 24 competitors in the finale of the world’s biggest live music event with “Stefania,” a rap lullaby combining Ukrainian folk and modern hip-hop rhythms
Updated 15 May 2022
TURIN, Italy: Ukraine won the Eurovision Song Contest Sunday with an infectious hip-hop folk melody, as the embattled nation rides a wave of public support across Europe.
Kalush Orchestra beat out 24 competitors in the finale of the world’s biggest live music event with “Stefania,” a rap lullaby combining Ukrainian folk and modern hip-hop rhythms from an energetic, breakdancing band.
“Please help Ukraine and Mariupol! Help Azovstal right now,” frontman Oleh Psiuk said in English from the stage, referring to the port city’s underground steelworks where Ukrainian soldiers are surrounded by Russian forces.
Following the win, Psiuk — whose bubblegum pink bucket hat has made him instantly recognizable — thanked everyone who voted for his country in the contest, which is watched by millions of viewers.
“The victory is very important for Ukraine, especially this year. Thank you from the bottom of our hearts. Glory to Ukraine,” Psiuk told journalists.
Coming in second place was Britain with Sam Ryder’s “Space Man” and its stratospheric notes, followed by Spain with the reggaeton “SloMo” from Chanel.
Ukraine beat out a host of over-the-top acts at the kitschy, quirky annual musical event, including Norway’s Subwoolfer, which sang about bananas while dressed in yellow wolf masks, and Serbia’s Konstrakta, who questioned national health care while meticulously scrubbing her hands onstage.
“Only at Eurovision do people celebrate bananas, heartbreaks and wash their hands in one and the same show,” Swedish fan Martina Fries told AFP Saturday ahead of the finale.
“Eurovision is a way to show that different countries can celebrate peacefully together.”
The joy of Eurovision is in its camp and theatrics, although the nearly three-month war in Ukraine hung heavily over festivities.
The European Broadcasting Union, which organizes the event, banned Russia on February 25, the day after Moscow invaded its neighbor.
“Stefania,” written by Psiuk as a tribute to his mother before the war, mixes traditional Ukrainian folk music played on obscure flute-like instruments with an invigorating hip-hop beat. The band donned richly embroidered ethnic garb to perform their act.
Nostalgic lyrics such as “I’ll always find my way home even if all the roads are destroyed” have taken on outsized meaning as millions of Ukrainians have been displaced by war.
President Volodymyr Zelensky thanked the group for topping the contest.
“Our courage impresses the world, our music conquers Europe!” he wrote on Facebook.
British Prime Minister Boris Johnson called the win “a clear reflection of not just your talent, but of the unwavering support for your fight for freedom,” while European Council President Charles Michel said he hoped next year’s contest “can be hosted in Kyiv in a free and united Ukraine.”
Kalush Orchestra received special authorization from Ukraine’s government to attend Eurovision, since men of fighting age are prohibited from leaving the country, but that permit expires in two days.
Psiuk said he wasn’t exactly sure what awaited the band as war rages back home.
“Like every Ukrainian, we are ready to fight as much as we can and go until the end.”
Other contenders at Eurovision included Sweden’s break-up belt “Hold Me Closer” from Cornelia Jakobs, Greece’s somber “Die Together” by Amanda Georgiadi Tenfjord, and “Brividi” (Shivers), a gay-themed duet from Italy’s Mahmood and Blanco.
Italy won the competition last year with “Zitti e Buoni” (Shut up and Behave) from high-octane glam rockers Maneskin, who performed their new single “Supermodel” during Saturday night’s finale.
Eurovision’s winner is chosen by a cast of music industry professionals — and members of the public — from each country, with votes for one’s home nation not allowed.
After a quarter-century of being shut out from the top spot, Britain had hoped to have a winner in “Space Man” and its high notes belted by the affable, long-haired Ryder.
Britain had been ahead after votes were counted from the national juries, but a jaw-dropping 439 points awarded to Ukraine from the public pushed it to the top spot.
Eurovision is a hit among fans not only for the music, but for the looks on display and this year was no exception. Lithuania’s Monika Liu generated as much social media buzz for her bowl cut hairdo as her sensual and elegant “Sentimentai.”
Meanwhile, Sheldon Riley of Australia — one of Eurovision’s few non-European entries — sang his self-affirmation ballad “Not the Same” through a sparkling face veil laden with crystals.
And since no Eurovision is complete without a smattering of gyrating and undulating bodies onstage, Spain’s Chanel came to the rescue with her energetic dancing and memorable “booty hypnotic” refrain.