Sally El-Hosaini’s ‘The Swimmers’ — a very different refugee story 

Sally El-Hosaini’s ‘The Swimmers’ — a very different refugee story 
Manal Issa (left) as Sara Mardini and Nathalie Issa as Yusra Mardini in Sally El-Hosaini’s ‘The Swimmers.’ (Supplied)
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Updated 08 December 2022
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Sally El-Hosaini’s ‘The Swimmers’ — a very different refugee story 

Sally El-Hosaini’s ‘The Swimmers’ — a very different refugee story 
  • The filmmaker on her acclaimed movie about two Syrian sisters, one of whom became an Olympian after fleeing their homeland 

DUBAI: Conjure an image of war — an image of what a young woman stuck in those circumstances must be going through to take the desperate decision to flee into the dark of night, to become a refugee. Is your image full of ash and smoke, of abject terror and starvation? That is exactly the image that Sally El-Hosaini’s film “The Swimmers” — based on the remarkable true story of Syrian refugee and Olympic swimmer Yusra Mardini and her sister Sara — attempts to dispel from the start.  

The film, which is now streaming globally on Netflix, begins in a very different civil-war-era Syria than the one commonly depicted in the news: Two young women are dancing to Sia’s “Titanium” with their friends, clubbing and finding joy where they can. Bombs are falling in the distance, but they have found a way to push that out of their minds for a moment, to continue their normal, middle-class lives because they refuse to give into the fear.  

“When Yusra was watching this scene, she turned around to me in the cinema, and said, ‘Thank you for this. This is what it really felt like,’” El-Hosaini tells Arab News. 

“Yusra told me the story of the day a mortar landed in front of her as she was going to meet her friends, and there was chaos, so she hid behind a wall. And as she hid, she thought, ‘Should I run home, or should I still go meet my friends?’” 




Nathalie Issa, Manal Issa, Yusra Mardini and Sarah Mardini at the premiere of ‘The Swimmers’ in Toronto. (AFP)

As Yusra Mardini hid behind that wall, she told El-Hosaini, she did the math in her head. Surely, if she was going to die tonight, it would have been here. 

“Statistically, I’ve already had the mortar land in front of me. Another one’s not going to hit me tonight. I’m going to meet my friends,” Mardini thought.  

“That’s the way it becomes normalized. It’s horrific, but that’s what really happens. They were just trying to be teenagers,” El-Hosaini continues.




Filmmaker Sally El-Hosaini (with megaphone) during the making of ‘The Swimmers.’ (Supplied)

In many ways, El-Hosaini’s film can’t help but be remarkable. The fact that the sisters cheated death time and again for one to reach the pinnacle of their sport on the other side of the world is undeniably inspiring. What makes it especially notable, however, is not just the true story at its center, but the way that the British-Egyptian filmmaker El-Hosaini frames it as a film of “female emancipation” — a story not of passive victims, but of active heroes who used a desperate situation to rise up in ways that, ironically, they never could have had their circumstances not been changed so dramatically.  

“War turns everything on its head,” says El-Hosaini. “All of the structures of society — cultural, patriarchal structures — no longer exist. They're shaken. That allows the young the freedom to really go on a journey like this. It’s an ironic liberation that came out of tragedy and war. On that journey that they took, they really were making crucial decisions about their lives. They became heroes by doing that. That’s something I really responded to.” 




 Nathalie Issa, Manal Issa and Ahmed Malek. (Supplied)

This is not just a story that El-Hosaini dreamed of making, it’s a story she had grown up wishing already existed. 

“You don't often see young, modern Arab women on screen. I saw this opportunity to make complex heroes out of these types of women. Normally, you have, like, victimized portrayal. When I was growing up, I never had a role model like that — a version of me on screen. I had the thought that if I didn't do this project, and I saw the film, I might feel disappointed, because I knew what it could be in my hands. And if it didn't achieve that, I would be very sad. And that was when I realized I had to do it myself,” says El-Hosaini. 

At the center of the all-star Arab cast, which includes Syrian superstar Kinda Alloush as the Mardini sisters’ mother, acclaimed Palestinian actor Ali Soleiman as their father, and rising Egyptian star Ahmed Malek as their closest friend, are two relative unknowns — Lebanese sisters Nathalie Issa and Manal Issa as Yusra and Sara Mardini.  

The Issa sisters were only cast after an exhaustive search, one that initially only included Syrians before the visas required by the film’s locations made Syrian casting impossible.  

“Manal had been in some independent Lebanese films and she had this very charismatic, rebellious presence. When she auditioned, she mentioned she was a big sister just like Sara, but her younger sister, Nathalie, was not an actress — she was studying for a master’s in literature. We asked if she could audition, and after Nathalie read the book, she was inspired, and came to screen test for us. Their chemistry blew me away, as they each embodied the very different energies of Sara and Yusra. I thought, ‘Oh my goodness! I’ve found the Lebanese version of the Syrian Mardini sisters,’” says El-Hosaini.  

When the two pairs of sisters met, the connection was instant. 

“Within a few hours, they were sharing their life stories. When they spent the night at their house that first meeting, they talked all night, and they were like the best of friends. And they’re still friends now. It just felt so natural,” the filmmaker continues. 

But the film did more than provide the two pairs of sisters with new friends. It also brought the Mardini sisters back together, as they had drifted apart somewhat since the events of the film. 

“When we first screened the film for them in Berlin, we all sat in the back room, terrified, because they hadn’t seen anything. And then, as the movie started, they started laughing, and then crying, and talking through it — whispering to each other. When the movie ended, Sara climbed over the cinema seats, and she gave me a big hug. She said, ‘Thank you. You reminded me how much I love my sister’” says El-Hosaini. 

“Most people don’t ever see their life contained in two hours in that way. It was a very intense experience,” she continues. “But I’m so thrilled that they’re proud of it, and that they felt represented. It was really one of the great honors of my life to tell their story.” 


Film AlUla, Stampede Ventures reveal films to be shot in Saudi Arabia under 10-project deal

Film AlUla, Stampede Ventures reveal films to be shot in Saudi Arabia under 10-project deal
Updated 02 December 2023
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Film AlUla, Stampede Ventures reveal films to be shot in Saudi Arabia under 10-project deal

Film AlUla, Stampede Ventures reveal films to be shot in Saudi Arabia under 10-project deal

JEDDAH: Hollywood movies “Fourth Wall” and “Chasing Red” are set to be filmed in Saudi Arabia’s AlUla in 2024 as part of a 10-project deal between Film AlUla — the Royal Commission for AlUla’s film agency — and global media company Stampede Ventures.

The announcement was made at the Red Sea International Film Festival on Saturday. Stampede Ventures CEO Greg Silverman and executive director of Film AlUla Charlene Deleon-Jones gave further details of the three-year deal, which also includes the previously announced dramatic comedy “K-Pops!”

“Fourth Wall” follows a former child star from a popular TV sitcom who is kidnapped and wakes up in a complete recreation of the show’s set with the rest of the cast, where she must work through her trauma and recreate iconic moments from the series to stay alive and find a way out.

The announcement was made at the Red Sea International Film Festival on Saturday. (AN/ Huda Bashatah) 

Meanwhile, “Chasing Red” is a romance centered around straight-A student Veronica and wealthy playboy Caleb. It is an adaptation of a book by Filipino-Canadian author Isabelle Ronin and is being directed by Jessika Borsiczky, who told Arab News that the story attracted her because “romance is so universal, especially first love, and especially stories about women finding who they are and then finding who they are in relation to the world.”

Stampede Ventures will be among the first to use Film AlUla’s production facility, which includes a 30,000-square-foot soundstage, backlot, production support buildings, workshops, warehouses, recording studio and training and rehearsal space.

Jessika Borsiczky told Arab News that the story attracted her because “romance is so universal.”  (AN/ Huda Bashatah) 

There will be emphasis on using Saudi talent during the production process, Deleon-Jones said, adding: “One of the most significant parts of what we’re doing is the training and development, because this gives us an opportunity to really develop below-the-line crew in somewhere like AlUla, where traditionally the main careers open to you would have been agriculture. We have a young working population who are vibrant and digitally engaged somewhere which is seen as one of the more remote places, (and now) you have this whole new exciting career path.”

The key, she said, was to prove to talent in Saudi Arabia that the film industry is a “sustainable” career choice. Silverman echoed that, saying the deal was “designed specifically so that people can come in and get a chance to prove (themselves) and then there’s another movie coming in the next month that they can be pulled into.”

Silverman is an entertainment industry veteran known for his track record at Warner Bros. where he shepherded over 125 films to more than $38 billion in worldwide box office, most notably the “Harry Potter” series, Christopher Nolan’s “Batman” trilogy, Zack Snyder’s “300,” Todd Phillips’ iconic “Hangover” trilogy, and “Joker.”

Previous Hollywood productions shot in AlUla include the Gerard Butler-led action-thriller “Kandahar,” directed by Ric Roman Waugh, and “Cherry,” starring Tom Holland and directed by Anthony and Joe Russo.


Celebrity-loved footwear designer Amina Muaddi opens pop-up store in Dubai

Celebrity-loved footwear designer Amina Muaddi opens pop-up store in Dubai
Updated 02 December 2023
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Celebrity-loved footwear designer Amina Muaddi opens pop-up store in Dubai

Celebrity-loved footwear designer Amina Muaddi opens pop-up store in Dubai

DUBAI: Celebrity-loved footwear designer Amina Muaddi revealed this week that she opened a new pop-up store in Dubai at Kite Beach.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by AMINA MUADDI (@aminamuaddi)

The shoemaker, who is of Jordanian and Romanian descent, has collaborated with clothing retail company Ounass for a four-week pop-up.

“I wanted to create a special experience for our community, a space that feels like an oasis from an outer world,” she wrote, sharing pictures of the place. “Visit the store and shop the collection starting Dec. 1 for the next 30 days. Happy shopping!”

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by AMINA MUADDI (@aminamuaddi)

To celebrate the launch, Ounass hosted an exclusive A-list dinner that was attended by rapper Kanye West, his partner Bianca Censori, American singer Ty Dolla $ign and Lebanese actress Nadine Nassib Njeim.


The Weeknd donates $2.5m to Gaza

The Weeknd donates $2.5m to Gaza
Updated 02 December 2023
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The Weeknd donates $2.5m to Gaza

The Weeknd donates $2.5m to Gaza

DUBAI: The UN World Food Programme this week announced that its goodwill ambassador, Canadian singer The Weeknd — whose birth name is Abel Tesfaye — has donated $2.5 million from his XO Humanitarian Fund to aid WFP’s humanitarian response in Gaza.

The donation, which equates to 4 million emergency meals, will fund 820 tons of food parcels that could feed more than 173,000 Palestinians for two weeks, the organization said.

“This conflict has unleashed a humanitarian catastrophe beyond reckoning. WFP is working round the clock to provide aid in Gaza but a major scale up is needed to address the desperate level of hunger we are seeing,” Corinne Fleischer, WFP’s director for the Middle East, North Africa and Eastern Europe, said in a statement.

“We thank Abel for this valuable contribution towards the people of Palestine. We hope others will follow Abel’s example and support our efforts.”

The multi-platinum global recording artist was appointed a goodwill ambassador in October 2021.


Red Sea film fest celebrates ‘Women in Cinema’ with global stars 

Red Sea film fest celebrates ‘Women in Cinema’ with global stars 
Updated 02 December 2023
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Red Sea film fest celebrates ‘Women in Cinema’ with global stars 

Red Sea film fest celebrates ‘Women in Cinema’ with global stars 

JEDDAH: The Red Sea Film Festival and Vanity Fair Europe played host a celebration of “Women in Cinema” on Friday night, with celebrities from around in attendance at the soiree.  

Bollywood star Katrina Kaif joined Hollywood actresses Sofia Vergara, Sharon Stone, Diane Kruger, Michelle Rodriguez and Zoe Saldana at the evening event while British supermodel Naomi Campbell also made an appearance.  

Michelle Rodriguez at the Women In Cinema Gala during the Red Sea International Film Festival. (Getty Images)

From the Arab world, it was a glittering invitation list with Yasmine Sabri, Egyptian icon Yousra, Amina Khalil, Nadine Nassib Njeim, Andria Tayeh, Aseel Omran and Sarah Taibah attending, among many more regional stars.  

“In collaboration with Vanity Fair Europe, and on the sidelines of the third edition of the Red Sea International Film Festival, we were pleased to host ‘Women in Cinema’ celebrating women’s cinematic contributions — where we honored Egyptian cinema icon Nabila Ebeid, acknowledging her rich cinematic career,” the festival posted on Instagram.  

Nabila Ebeid and Mohammed Al-Turki at the Women In Cinema Gala during the Red Sea International Film Festival. (Getty Images) 

Born on Jan. 21, 1945, Ebeid has been dubbed “Egypt’s first star.” Ebeid is known as both an actress, with film and stage titles under her belt, and a producer.  

The Red Sea International Film Festival runs from Nov. 30 to Dec. 9 and boasts 11 categories of films: Special Screenings; Red Sea: Competition; Red Sea: Shorts Competition; Festival Favorites; Arab Spectacular; International Spectacular; New Saudi/ New Cinema: Shorts; Red Sea: New Vision; Red Sea: Families and Children; Red Sea: Series and Red Sea: Treasures.   

Mohammed Al-Turki and Naomi Campbell at the Women In Cinema Gala during the Red Sea International Film Festival. (Getty Images)

This year’s celebrity-studded festival jury is presided over by director Baz Luhrmann, joined by Swedish-American actor Joel Kinnaman (“Suicide Squad”); Freida Pinto (“Slumdog Millionaire”); Egyptian actor Amina Khalil (“Grand Hotel”) and Spain’s Paz Vega (“Sex and Lucía,” “The OA”).  

Sharon Stone and Shivani Pandya attend the Women In Cinema Gala during the Red Sea International Film Festival. (Getty Images)

The festival kicked off with a gala screening of Dubai-based Iraqi director Yasir Al-Yasiri’s “HWJN,” which is based on a YA novel by Saudi writer Ibraheem Abbas. Set in modern-day Jeddah, “HWJN” follows the story of a kind-hearted jinn — an invisible entity in Islamic tradition — as he discovers the truth about his royal lineage. 

Lebanese actress Njeim spoke to Arab News on the opening red carpet, saying: “The festival marks a turning point for every ambitious Saudi filmmaker, providing excellent support for young talents to showcase their work at international festivals.” 


‘Arab cinema needs support,’ says Cannes prize winner Asmae El-Moudir ahead of RSIFF debut

‘Arab cinema needs support,’ says Cannes prize winner Asmae El-Moudir ahead of RSIFF debut
Updated 02 December 2023
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‘Arab cinema needs support,’ says Cannes prize winner Asmae El-Moudir ahead of RSIFF debut

‘Arab cinema needs support,’ says Cannes prize winner Asmae El-Moudir ahead of RSIFF debut

TORONTO: The documentary that won Moroccan filmmaker Asmae El-Moudir a best director prize at this year’s Cannes Film Festival will be screened at the Red Sea International Film Festival in Jeddah.

“The Mother of All Lies” took the honors in the Un Certain Regard section, as well as winning the prestigious L’oeil d’Or prize for best documentary. The film explores El-Moudir’s personal journey, unraveling the mysteries of her family’s history against the backdrop of the 1981 bread riots in Casablanca.

El-Moudir, a regular on the international film festival circuit, spoke to Arab News about both the film and her desire to see Arab cinema attract more support.

“I think every filmmaker in the world dreams of having their film premiere in a big festival like Cannes or Sundance or the Berlinale or Venice,” she said.

“It wasn’t easy for me as a filmmaker, producer and editor to bring this film to the international level but with the support from the Red Sea Festival, the Arab Documentary Photography Program and Doha Film Institute, people from the MENA (Middle East and North Africa) region, things became easier.”

The film poster for 'The Mother of All Lies.' (Supplied)

Morocco has chosen “The Mother of All Lies” as its submission for the best international feature film category in the 96th Academy Awards, which will take place in March next year. With the official nominations yet to be announced, El-Moudir said: “This means a lot for me and for my characters, because I’m talking about a sensitive subject.

“I was also afraid to make this a subject to talk about because I was protecting my family, and I had no idea how we can talk about the past freely without hurting anyone, without looking for guilty people or denouncing anyone.”

El-Moudir’s decade-long journey in making “The Mother of All Lies” has taught her a valuable lesson — the importance of time in crafting meaningful stories.

“There is no rush to make films, especially when we are talking about real facts,” she said. “We should wait for the project. I made this film in 10 years. I was super tired and exhausted, but I don’t regret anything. If I had made this film five years ago, maybe nobody would have watched it. It needed maturity and took time to talk about how we can make a national story an intimate one.”

Discussing what she hoped the audience in Jeddah would take away from her film, El-Moudir emphasized the need for support within the Arab filmmaking community.

“I’m sure the audience in Saudi Arabia will identify themselves in this story. We have the same aspirations, we have the same vocations. I would tell the audience please come and discuss the films. Whether it’s Moroccan or Saudi Arabian, or Tunisian or Egyptian, Arab cinema needs support, and we should support each other.

“I hope people from Saudi Arabia will understand a lot of time has passed working on this film, and maybe younger generations of filmmakers will be happy to see we need time to make films. And we should not be afraid if ideas are not here today. In five years, they will be, and we will be everywhere.”