VENICE: French Lebanese director and journalist Wissam Charaf’s latest outing at the Venice Film Festival “Dirty Difficult Dangerous” falls somewhere between comedy and tragedy.
The director weaves an intimate but hopeless romance between an Ethiopian migrant housekeeper, Mehdia (played with wonderful conviction by Clara Couturet), and a Syrian scrap metal collector, Ahmed (an interesting Ziad Jallad). They indeed lead a dirty and difficult life in a Beirut wracked by bloody strife. It is perhaps this setting that gives a novel twist to their story with both discovering solace and beauty in each other amid the violence.
Ahmed’s life has been hellish — hit by a shrapnel from a bomb in Syria, he flees to Beirut where things are no better. Mehdia lives in the midst of people who are not too pleasant. The mistress of the house where Mehdia works, Madame Leila who is essayed by the divine Darina Al-Joundi, is not exactly evil, but she is suffocatingly strict. It is an environment that makes the maid’s life torturous. Leila’s husband is a retired army colonel suffering from dementia while the couple’s son, Fadi (an impressive cameo by the director himself), employs another domestic worker, a sweet Bengali girl who does not speak a word of Arabic.
It is a motley group indeed. While Mehdia’s existence is uneasy because of the restrictive household, Ahmed has his own demons to grapple with. His life is slowly turning into a lifeless prison of iron and steel. Martin Rit’s photography work elevates the script to an ethereal high. Written imaginatively by Charaf along with Mariette Desert and Hala Dabaji, the story is one of moving humanism, of how two individuals who live in a particularly difficult scenario yet create their own little paradise that gives them joy and hope. A wondrous score with the right blend of traditional Levantine music and Ethiopian chanting gives the movie the right kind of mood to let it fly above the squalor of its setting and transform into an unforgettable love story.
The vest retails for around $6,900 on luxury application FarFetch.
Fans quickly started looking for websites selling the jacket at a lower price.
“For people who liked the jacket of Crown Prince Mohammed bin Salman and are not able to (buy it) because of the price, this jacket is similar to it and has a number of colors and all sizes and a cheaper price,” wrote one user.
Another user noticed that the website ShopStyle increased the price of the vest after it was worn by the crown prince.
The videos shared on social media showed people posing for pictures with the Saudi crown prince.
“I am proud to meet His Highness, Prince Mohammed bin Salman, may God protect him, and His Excellency Badr Al-Asaker in the city of AlUla,” tweeted one user sharing his pictures with the crown prince.
It is not the first time that the Saudi crown prince has sparked a style storm online.
In 2022, a cohort of fashion lovers on Twitter went wild over a pair of dark brown Oxfords, called Hallam, from British footwear label Crockett & Jones, that retailed for about $560.
In 2021, he was photographed wearing a quilted gilet while chairing a board meeting of the Public Investment Fund.
The prince showed off a $6,551 casual sleeveless vest by UK luxury cashmere brand Franck Namani.
In 2019, he attended the Formula E races in Riyadh wearing a navy-colored Barbour jacket worn over a crisp white thobe that immediately sent the internet into overdrive.
The outerwear item by the British heritage brand sparked its own Arabic hashtag on Twitter — that translated to “crown prince’s jacket” — with many taking to the social media platform to admire the look.
Saudi writer, director and producer Ali Al-Kalthami talks success
As one of the co-founders of Telfaz11, the writer-director-producer is now reaping the rewards of years spent establishing an authentic entertainment industry in the Kingdom
Updated 28 January 2023
DUBAI: Ali Al-Kalthami is trying not to let it all go to his head. But that’s easier said than done. As one of the three co-founders of the pioneering Saudi production company Telfaz11, Al-Kalthami is one of the pillars of the Kingdom’s film future. And, as we’ve seen over the last two months, that future is now.
In that short span of time, Telfaz11’s film “Raven Song” became the latest Saudi submission to the Academy Awards, their theatrical release “Sattar” became the highest-grossing Saudi film in history, and their latest feature, “Al Khallat+,” just became the first Netflix original film from Saudi.
“This is not overnight success, of course,” Al-Kalthami explains to Arab News. “It’s been 12 years of experience, 12 years of staying true to our stories, our philosophy, and our talents. We’re grateful that all of these projects are flourishing at the same time, but we’ve been working a long time for these things to take place, and we’re most proud that we got here by doing it the right way — doing it our way.”
We’re speaking to the writer/director/producer over Zoom and he doesn’t want to turn his camera on. It’s nothing personal, he explains, he’s just been filming for 12 hours straight, directing his upcoming theatrical feature “Night Courier,” a dark crime comedy, in Riyadh and he doesn’t want anyone to see him. His mood, however, belies his exhaustion — he’s still thrilled to gush about “Al Khallat+,” perhaps the Telfaz11 project that is closest to his heart.
The film is a continuation of the 22-episode anthology web series he created, which has amassed an astounding 1.5 billion views — a viewership far too big to qualify this as a ‘cult hit.’ Rather, Al-Kalthami and co., through their years of viral YouTube videos, have defined what Saudi Arabia’s mainstream entertainment looks like, building grassroots support with content that is wholeheartedly Saudi, made with a love and authenticity that allows them to push boundaries and subvert expectations, an aesthetic that is defined in “Al-Khallat.”
“From the start, I thought about doing a show that reflects the Saudi psyche. We wanted to capture everyday life in a way that that appeals to real people with engaging, well-crafted storytelling,” the creator explains.
While “Al Khallat+” tells a number of unrelated stories — two thieves crash a wedding to rescue their captured partner, a chef risks his restaurant trying to save his parent’s marriage, a mother searches for her husband who in turn is searching for his son in a nightclub — they each share a defining theme, one that Al-Kalthami and his collaborators discovered while holed up writing together during COVID-19 lockdowns.
“We went back to the 22 episodes we’d released on the internet, and wanted to figure out what worked and what didn’t as we started to work on the feature. And for some strange reason, we found that the stories that worked had something in common. In each of them, there was a character who had to hustle their way out of an issue brought on by society’s restrictions — and we don’t mean that negatively,” Al-Kalthami says.
“If you think about Saudi Arabia as a largely conservative society, that comes with a lot of rules that cause restraints on social life. Watching people hustle around those restraints becomes funny, because people can relate to those situations. We approach it with a very local mindset, and that allows Saudis to come along for the ride with us.”
While “Al Khallat” has a perspective purely his own, Al-Kalthami is always quick to give credit to his collaborators. If he is proud of anything personally, it’s that he’s created a platform which has allowed the Kingdom’s rising talent to thrive, from the myriad actors featured to the crew behind the camera, many of whom he has known for years.
“When I saw the first edit, I was very emotional. I was able to see in front of my eyes so clearly all the ideas that we’d written come to life through such great production. Fahad Alammari, the director, executed this so well, for example, and seeing all these actors — all of my friends — having fun bringing these characters to life is so rewarding,” says Al-Kalthami.
“From the beginning, I always wanted this to go somewhere beyond the internet. I had no other experience at the time, but I knew we would get there eventually. To have something that I created with my friends get picked up and treated as a franchise is very humbling.”
The challenge that Al-Kalthami now faces is to keep pushing forward and rewriting the template that he and his collaborators have made.
“As a writer, you often create this illusion around yourself when you create something successful. If you’re not careful, there’s a barrier that rises between you and reality. You have to force yourself not to believe the hype, to be true to who you are and true to the society you live in — and force yourself to keep living in it. You can’t isolate yourself and become carried away by your success,” he says. “You have to embrace life, and live like a normal person, and get inspired the right way. I’m always trying to force myself to stay grounded, which can be very tricky with this kind of success, especially when you’re in on the ground floor. You have to force yourself to continue to push the envelope, break boundaries and do great work, and you have to help build this industry the right way. That’s the responsibility of pioneers.”
While Al-Kalthami is usually focused on the future — committed to pushing himself as a writer and helping Saudi talent flourish both within his own projects and theirs — he does, occasionally, allow himself to look back and take stock of all he and Telfaz11 have accomplished over the last dozen years. Often, the emotion hits when he least expects it.
“Somebody sent me a TikTok video last week. In it, someone had put together pictures of all the Telfaz11 founders, filmmakers and family members, spanning every moment they could find from 2010 to 2022. They wrote that we were the voice of our local inner life, that we were filmmakers that Saudis believe in. It was just so poetic, so nice, and so innocent. It just really got to me,” Al-Kalthami says. “I was so overwhelmed, I could hardly control it. To know that a lot of people in Saudi feel we represent their voice, their authentic life, truly means everything.”
ULTRA Abu Dhabi music festival releases lineup of headliners for debut edition
Updated 28 January 2023
LONDON: The international music festival, ULTRA Worldwide, has announced the first wave of headliners set to play the inaugural edition of ULTRA Abu Dhabi on March 4-5 at Etihad Park.
“Multi-award winning and platinum-record selling artist Afrojack is no stranger to headlining ULTRA Main Stages across the world, and will be on hand to deliver yet another high-octane set,” organizers said.
“Responsible for some of the biggest hits in the world, Grammy-nominated Calvin Harris will bring the beats to Yas Island for one of his signature high-energy sets (and) Dharma Worldwide boss KSHMR will whip the crowd into a frenzy with his culture-crossing sonics,” they also said.
Gud Vibrations label co-founder NGHTMRE will appear on the Main Stage with his signature blend of electronic music and producer Skrillex, who has won eight Grammy Awards — more than any other electronic dance music artist, will bring his shapeshifting soundscapes to the festival.
ULTRA Abu Dhabi will also host ULTRA’s underground techno and house concept RESISTANCE, featuring Drumcode founder and Swedish techno titan Adam Beyer.
“Producer and EXHALE label boss Amelie Lens will return to the Middle East to deliver her mesmerising blend of techno, while British legends Sasha_John Digweed bring decades of dance floor expertise to Abu Dhabi,” they added.
Etihad Park, located on Yas Island, is the largest open-air venue in the region and one of the world’s fastest growing leisure and entertainment destinations.
“ULTRA Worldwide sets the benchmark when it comes to delivering the ultimate festival experience, combining top-tier talent, cutting-edge technology and large-scale productions,” the statement said, adding: “As the most international music festival brand boasting active events on all six inhabited continents, it’s no surprise that ULTRA Worldwide’s Middle East debut will be one of the most highly anticipated events across the UAE this year.”
The three-day festival will offer a premium general experience pass that allows access holders to dedicated entrance gates, toilets, food and beverage stands, as well as a private lounge area. It will also offer VVIP passes at both stages.
Potential Omani bishop’s palace uncovered near Christian monastery on UAE’s Siniyah Island
Archeologists uncover possible Omani bishop’s palace near Umm Al-Quwain’s recently discovered Christian monastery
Updated 27 January 2023
DUBAI: Fresh findings by archeologists suggest the existence of a possible bishop’s palace — potentially Omani — near a recently discovered Christian monastery on the UAE’s Siniyah Island, off the coast of the state of Umm Al-Quwain.
A series of walls and rooms were uncovered last year that intrigued archeologists and historians involved in the excavation process on Siniyah Island, according to Tim Power, an archeology professor at UAE University.
“It seems that we really have an interesting building that might be interpreted as an abbot’s house or perhaps even a bishop’s palace,” he continued.
The archeology professor explained that similar buildings had been found in the Arabian Gulf over the years, which has helped historians and archeologists create parallels.
Power added that recently what is thought to be a bishop’s palace was uncovered in Bahrain that had similar characteristics to the structure discovered on Siniyah Island.
“Historical sources, in particular the acts of the synods of the Nestorian church, mention a bishop of Oman between the fifth and seventh centuries,” said Power.
Oman during that period included the region that later became the northern emirates of the UAE, so it is possible this was the actual palace of a bishop, he added.
This year, the focus has shifted to excavating a different part of the island, with extensive work carried out on settlements and other structures surrounding the monastery.
Findings on the island suggest the presence of both Christian and Muslim communities, who are believed to have coexisted during a period of time.
They also shed light on the transition from late antiquity to early Islam, just before the Arab conquest.
Power, who was invited by the Tourism and Archeology Department of Umm Al-Quwain to put together a “dream team of leading experts,” chose individuals who can contribute to the project.
“The goal of this season will be to outline the context of the monastery so it’s not just an isolated structure in the middle of this sand pit,” said Michele Degli Esposti, a researcher at the Institute of Mediterranean and Oriental Cultures of the Polish Academy of Sciences.
Esposti, who sat categorizing artifacts and materials found during the dig, explained why the site of the alleged bishop’s palace was different than other structures.
“This area, contrary to what happens in the settlement, is quite poor in material remains,” he said.
“One reason is that the core complex, which had a very nice plaster floor, was constantly kept swept and clean, so we found very little materials left behind.”
A possible warehouse was found in the vicinity of the structure thought to be the bishop’s palace, containing further clues for archeologists to draw conclusions.
Radiocarbon dating used to assess the pottery excavated suggests that the community believed to have occupied the island was there between the seventh and eighth centuries.
Esposti said similar methodologies will be used to determine the age of the objects recently found to further narrow down the window of the predicted time period.
The excavation process, which has a more multidisciplinary approach, involves experts and materials from around the world to aid archeologists on site.
It is also the first time that TAD UAQ is hosting students from the New York University of Abu Dhabi to participate in the excavation process.
Hoor Al-Mazrouei, an Emirati biology student at NYUAD, participated in the excavations taking place in the settlements where she helped find a pot potentially used for cooking.
NYUAD students were involved in the process from Jan. 4-20, alongside archeologists from TAD UAQ such as Ammar Al-Banna.
Al-Banna, who predicts that the island will welcome visitors in the foreseeable future, said the first step is to uncover all findings to proceed.
“By uncovering them, we hope to understand why they are here and what the relationship between all the structures and the sites next to them is,” he said. “Of course, with the finds, some will be studied, some will be exhibited.”
Excavation work on the island will continue until March and will end before the Ramadan fast begins.
Siniyah Island’s monastery is the second to be found in the UAE, with the first discovered in Abu Dhabi’s Sir Bani Yas Island in the 1990s.