Jordan’s Crown Prince Hussein bin Abdullah II weds Saudi national Rajwa Al-Saif at royal wedding

Jordan’s Crown Prince Hussein bin Abdullah II weds Saudi national Rajwa Al-Saif at royal wedding
The couple wed at Zahran Palace. (Supplied)
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Updated 02 June 2023
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Jordan’s Crown Prince Hussein bin Abdullah II weds Saudi national Rajwa Al-Saif at royal wedding

Jordan’s Crown Prince Hussein bin Abdullah II weds Saudi national Rajwa Al-Saif at royal wedding
  • The ceremony was held at the Zahran Palace, where the crown prince’s parents — King Abdullah II and Queen Rania — wed in 1993
  • The event was attended by around 140 guests, including members of the Royal Hashemite family, invited royals and heads of state

AMMAN: It was an affair to remember as Jordan’s Crown Prince Hussein bin Abdullah II wed Saudi national Rajwa Al-Saif, who by royal decree will now be known as Princess Rajwa Al-Hussein, on Thursday at Zahran Palace in Amman, before the royal couple travelled by motorcade to Al-Husseiniya Palace for a lavish reception.  

 When the crown prince takes the throne, the princess will be Queen Rajwa. The bride wore a custom-made Elie Saab gown, while Queen Rania opted for Dior.

The religious ceremony was held at Zahran Palace, where the crown prince’s parents — King Abdullah II and Queen Rania — wed in 1993. The ceremony was attended by around 140 guests, including members of the Royal Hashemite family, invited royals and heads of state - US President Joe Biden and US First Lady Jill Biden even shared a congratulatory message on social media.

Guests include dignitaries and royals from around the world, including the UK’s Prince and Princess of Wales William and Kate Middleton; US First Lady Jill Biden; Qatar’s Sheikha Moza bint Nasser; the king and queen of Malaysia; the king and queen of The Netherlands; King Juan Carlos I and Queen Sofía of Spain; Prince Sébastien of Luxembourg; Crown Prince Frederik and Crown Princess Mary of Denmark; Crown Princess Victoria of Sweden and Prince Daniel, Duke of Västergötland; Haakon, Crown Prince of Norway and Hisako, Princess Takamado and her daughter, Princess Tsuguko of Takamado of Japan, among others.  

The bride arrived at the palace in a 1968 Rolls-Royce Phantom V that was custom-made for the late Queen Zein Al-Sharaf and was escorted by the Crown Prince’s younger brother, Prince Hashem bin Abdullah II, and Princess Salma bint Abdullah II. Prince Hashem walked Al-Saif to the gazebo where the Islamic marriage ceremony took place.

During the ceremony, the bride and groom signed the marriage contract. Royal Hashemite Court Imam Dr. Ahmed Al-Khalaileh, who was appointed to the position in January 2021, presided over the ceremony, which was followed by several women performing the Zaghrouta, or traditional ululation.

Afterwards, crowds lined the 10km route as the couple traveled to the location of the reception party in a custom 1984 Range Rover as part of a convoy worthy of an Arab royal wedding.  

The motorcade featured eight red 1980s Land Rovers and 11 red BMW motorcycles. The vintage machines belong to the Royal Convoy Unit, part of a special military formation known as the Royal Guards. The Jordan Armed Forces Musical Band performed during the event. 

As is customary, the arrival of the bride and groom was announced with a zaffeh by the Jordan Armed Forces Musical Band. All band members wore the red-and-white shemagh, a traditional headdress for men, in addition to their full-dress uniform. After passing through an honorary Arch of Sabers, the couple proceeded through the courtyard amidst a traditional Jordanian zaffeh, toward the greeting stage, where the family greeted more than 1,700 guests. The remainder of the evening featured a variety of performances by local and regional singers, a choir group, Jordanian bands, the national orchestra, and folk dance troupes.

According to the Royal Hashemite Court, the reception space at Al-Husseiniya Palace was designed to showcase Jordanian traditions, craftsmanship, and the country’s natural surroundings. Upon arrival, guests entered on a path that evokes the Jordanian desert, featuring a 20-meter-long handwoven Bedouin rug, created specifically for this occasion by the Bani Hamida Women's Weaving Project in the village of Mukawir in Madaba.

Surrounded by foraged wildflowers that reflect the native landscape of the weavers, guests were welcomed with traditional Arabic coffee and music as they made their way down the reception. Once inside the reception space, guests were greeted by the sight of native olive trees surrounded by a dune-like display of dates, which represent hospitality in both Jordanian and Saudi cultures. The venue featured an installation of five large-scale mesh arches, inspired by the architecture of the palace and the hues of the desert landscape of Jordan’s Wadi Rum.

Guest seats were adorned with traditional embroidery patterns, handstitched by women artisans employed by Al-Karma Embroidery Center and the Jerash Women Charitable Society – all of which were established to empower local women and promote traditional handiworks. Guest tables were made from natural Madaba stone and decorated with hand-blown glass vases and traditional clay pottery made by local artisans. The decor also incorporated hand-hammered basalt stone from the north of Jordan. Utilizing local seasonal flowers, the Palace’s archways wre steeped in jasmine. Other design elements paid homage to Jordan’s wheat harvesting season, which is in full swing, with items reimagining the traditional threshing board used to shred wheat and release its grain.

The reception concluded with the bride and groom cutting the wedding cake.

The royal wedding was almost a year in the making, with the couple announcing their engagement in August 2022. The pair got engaged in Riyadh with members of the Jordanian royal family in attendance, as well as Al-Saif’s parents — Khalid bin Musaed bin Saif bin Abdulaziz Al-Saif and Azza bint Nayef Abdulaziz Ahmad Al-Sudairi. 

The Al-Saif family traces its lineage to the Subay tribe, who have been present in the Sudair region of Najd since the beginning of the era of King Abdulaziz, the founder of modern-day Saudi Arabia. Meanwhile, Al-Saif’s mother comes from the prominent Al-Sudairi family. 


Johnny Depp walks the red carpet at ‘Jeanne Du Barry’ Red Sea Film Fest premiere 

Johnny Depp walks the red carpet at ‘Jeanne Du Barry’ Red Sea Film Fest premiere 
Updated 57 min 59 sec ago
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Johnny Depp walks the red carpet at ‘Jeanne Du Barry’ Red Sea Film Fest premiere 

Johnny Depp walks the red carpet at ‘Jeanne Du Barry’ Red Sea Film Fest premiere 

JEDDAH : Hollywood superstar Johnny Depp on Friday walked the red carpet at the Red Sea International Film Festival for the regional premiere of his film “Jeanne Du Barry.”

The actor wore a black suit as he posed for pictures on the red carpet. 

French director Maïwenn’s period drama features the director as the titular 18th Century courtesan Madame du Barry opposite Depp, who plays King Louis XV. The director also hit the carpet at the Red Sea Mall.

Mohammed Al-Turki and Johnny Depp. (Huda Bashatah)

RSIFF provided post-production support for the period drama, marking the first time the foundation co-produced a French movie. The film had its world premiere at the Cannes Film Festival in May. 

On Thursday, Depp attended the opening night of the festival alongside US star Will Smith, US actress Michelle Williams, German actress Diane Kruger, Lebanese songstress Maya Diab, Brazilian model Alessandra Ambrosio, Saudi singer Aseel Omran — among many more — it was an affair to remember.

The glittering event 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.

French director Maïwenn’s period drama features the director as the titular 18th Century courtesan Madame du Barry opposite Depp, who plays King Louis XV. (Huda Bashatah)

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”). 

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. 

The theme of year’s festival is “Your Story, Your Festival.”


Visitors to compose their own symphony of lights at Noor Riyadh 2023

Visitors to compose their own symphony of lights at Noor Riyadh 2023
Updated 01 December 2023
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Visitors to compose their own symphony of lights at Noor Riyadh 2023

Visitors to compose their own symphony of lights at Noor Riyadh 2023

RIYADH: From Nov. 30 to Dec. 16, Noor Riyadh, the largest annual light art festival in the world, returns for its third edition, boasting 120 large-scale works from 100 contemporary artists from over 35 countries.

The festival lets every visitor follow the map to glowing artworks within each location, with pieces spread not just across Riyadh, but throughout the landscapes of the five main festival hubs: King Abdullah Financial District, Salam Park, Wadi Hanifa, Wadi Namar, and Jax District.

“For us, it’s very important that people in Riyadh feel like this is their festival. The main purpose of it is to be part of the fabric of Riyadh … It’s to make the city vibrant, beautiful, and relevant to the citizens and residents,” Miguel Blanco-Carrasco, adviser at the Royal Commission for Riyadh City and Riyadh Art, told Arab News.

From Nov. 30 to Dec. 16, every Riyadh resident will get a chance to forge a path for their own story using illuminating artworks from across the globe. (Arab News)

After running over 20,000 surveys across the Saudi populace, the team found that Riyadh’s citizens and residents preferred a more concise experience.

Nouf Almoneef, director of the festival, told Arab News: “Last year, a lot of people didn’t get the chance to go to the other locations …We want accessibility for everyone.”

Their approach was to create a contained, yet conspicuous experience: last year’s 40 locations became the five main hubs, each containing over 15 artworks, and some partnering activations in other areas.

Berlin-based French-Swiss artist Julian Charriere’s artwork “Vertigo.” (Arab News)

“Our mission is to transform the city to a gallery without walls … We’re building this legacy for artists to grow and show their works internationally. Our aim is to highlight our artists and the festival globally and for the people to also come and visit,” Almoneef said.

What truly marks out the festival is its strong curatorial narrative which leaves visitors to build a narrative out of the existing pieces placed across Riyadh.

Jerome Sans, co-founder of Palais de Tokyo in Paris and lead curator of this year’s festival, said: “We invented this as a symphony with different acts. You can take it in any order.

“Here for example, in KAFD, the story starts in the city — from mineral to nature; from the Financial District to the door of the desert, or vice versa. Salam Park is a way for us modern people to create our own garden, to shape it, but then there’s a real nature in itself. So we create all different flavors and steps where you can go from one to the other.”

Sans, supported by curators Pedro Alonzo, Fahad bin Naif, and Alaa Tarabzouni, took six months in curation to orchestrate a symphonic storyline within the city’s multifaceted landscape.

Nouf Almoneef, director of the festival said: “Last year, a lot of people didn’t get the chance to go to the other locations … We want accessibility for everyone.” (Arab News)

On the theme, the lead curator noted that desertification is a growing issue globally, not just within Riyadh, which is located in the heart of the Nafud desert. The theme “Bright Side of the Desert Moon” contemplates the light within the arid.

Like the moon, the hubs physically circle Riyadh. As visitors approach each location, they create a celebratory cross-city bonfire marked by gleaming artworks. 

For Sans, the concise number of locations act as members of the “family,” bringing the festival to a much more human scale and “easier for everyone to understand.”

For Bjornstjerne Christiansen, one of the three founders of Copenhagen-based collective SUPERFLEX, the theme lay close to the group’s way of thinking as an expanded collective, that “we need to change our behavior and perspective, and we believe we can do that through art,” he told Arab News.

Public art is an important aspect of SUPERFLEX’s work, bringing unique projects to corners of the globe, like the famous Superkilen Park in Denmark with works from 80 nationalities, The Bank urban park in UAE’s Sharjah, a projection on the UN headquarters in New York City, and many others.

SUPERFLEX’s artwork “Vertical Migration” explores territories buried within the depths of the sea projected on a high-rise building in KAFD. (Arab News)

Noor Riyadh, under the umbrella of Riyadh Art, aims to create space for the city’s populace to engage with art in a much more dynamic way. It strays away from confining the works merely within an art space and incorporates them within everyday locations, such as KAFD, a home to many corporate buildings and popular dining spots, and Salam Park, where families go to picnic and play.

SUPERFLEX’s artwork “Vertical Migration” explores territories buried within the depths of the sea projected on a high-rise building in KAFD. It highlights the importance of understanding the ocean’s health through a siphonophore, a creature that comes in trillions every night from the bottom to the surface to clean.

“It’s very beautiful but has a lot of layers of politics in it. And that’s the good thing about art: you can look at it as beauty or aesthetics while also having many layers,” Christiansen said.

Saudi artist Dur Kattan’s “Closer than They Appear” is a collection of approximately 400 car side mirrors, using the blindspot within them as a metaphor for people’s collective blindness to our own humanity.

“In a city like Riyadh, things are very busy. It’s amazing, all these changes that are happening, but you also have to somehow ground yourself and find time to reflect on yourself, your own blindspots, and that will basically protect you from crashing,” Kattan told Arab news.

Kattan is an emerging artist whose contribution to the festival becomes her second showcase after her debut in the exhibition “Heartache” by Very Public earlier this year. While the festival hosts big-name international artists like Yayoi Kusama, it also acts as a platform for younger contemporary names to surface.

Noor Riyadh has become a staple event in the city’s events calendar, the success of which was made possible by “these amazing, talented (artists) and the teams behind the festival” as well as the interaction of the public, Almoneef said.


New Zealand brings ‘Miles from Nowhere’ to Red Sea International Film Festival   

New Zealand brings ‘Miles from Nowhere’ to Red Sea International Film Festival   
Updated 01 December 2023
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New Zealand brings ‘Miles from Nowhere’ to Red Sea International Film Festival   

New Zealand brings ‘Miles from Nowhere’ to Red Sea International Film Festival   

JEDDAH: The latest production from New Zealand film company Homegrown Pictures will be unveiled at the third edition of the Red Sea International Film Festival, which runs until Dec. 9. 

“Miles from Nowhere” tells the story of Said, a young Muslim living in Auckland, who forms a dangerous friendship with the Security Intelligence Service agent spying on him and risks his whole community to fulfil his dreams. 

Using dark comedy, it explores the immigrant experience of Arab families in New Zealand’s multicultural neighborhoods. 

Homegrown Pictures is joined by two other leading New Zealand film companies, NHNZ Worldwide and Greenstone, which are also set to make their debut appearances at the festival. 

Julie Christie, CEO of NHNZ Worldwide — an Emmy-winning, specialist factual documentary production company — will attend the festival to “build on (the company’s) extensive relationships and collaborations in the region.” 

Greenstone, which is growing its programs and partnerships in the Middle East, is working to take stories about and from the region out into the world. 

Barney Riley, New Zealand’s ambassador to Saudi Arabia, said: “We are thrilled to have Homegrown Pictures, NHNZ Worldwide, and Greenstone representing New Zealand at the Saudi Red Sea International Film Festival for the first time. 

“Their presence demonstrates the quality and diversity of New Zealand’s film and television industry. We are proud to support our homegrown talents as they take their creative works to a global audience.”


Amjad Al-Rasheed on ‘Inshallah A Boy’ and the future of Arab cinema 

Amjad Al-Rasheed on ‘Inshallah A Boy’ and the future of Arab cinema 
Updated 01 December 2023
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Amjad Al-Rasheed on ‘Inshallah A Boy’ and the future of Arab cinema 

Amjad Al-Rasheed on ‘Inshallah A Boy’ and the future of Arab cinema 
  • The Jordanian filmmaker’s acclaimed debut feature premieres regionally at RSIFF this week 

DUBAI: It’s been more than six months since Jordanian filmmaker Amjad Al-Rasheed took the stage to accept the Rail d'Or at the 2023 Cannes Film Festival, and the world still can’t stop talking about his first feature, “Inshallah a Boy.”  

Filled with pointed criticism of modern Jordanian society, the film has become an early favorite for a 2024 Academy Award nomination, bolstered by big wins at festivals across the world. Now, at the third edition of the Red Sea Film Festival, the film is finally set to premiere in the region. 

Looking at the field of films from the Arab world debuting at the third edition of the festival, Al-Rasheed is proud not only of how far Arab cinema has come, but of how that progress has allowed so many filmmakers to dive deeper into the intricacies of the multi-faceted region. It’s also a moment to highlight just how significant Saudi Arabia has become to the region’s industry—as “Inshallah a Boy” is one of a number of films screening this year that was backed by the Red Sea Fund.  

“This is a very exciting moment for Arab cinema — and it really feels like we finally have something we can call ‘Arab cinema.’ I say that because no single country is dominating the field. There are so many powerful voices coming out of Sudan, Tunisia, Morocco, Lebanon, Saudi Arabia, and beyond. We each have different personalities, different cultures, different struggles, but we have so much in common. It’s incredible that we finally have a chance to tell our stories, and have the power to lift up each other’s voices,” Al-Rasheed tells Arab News.  

“Inshallah a Boy” follows a young widow who discovers that the death of her husband is only the start of her troubles. The law, she is told, says her husband’s brother can take half her house and more, and the brother intends to collect what tradition says is his. There is, however, a loophole: If she is pregnant, and gives birth to a son by her late husband, the inheritance is fully theirs. So she concocts a lie, forges documents, and buys herself some time before the walls close in on her any further.  

“Inshallah a Boy” follows a young widow who discovers that the death of her husband is only the start of her troubles. (Supplied)

“I began with a question — and it was a question inspired by a situation a close relative of mine found herself in that is very similar to what the main character is experiencing,” Al-Rasheed says. “She explained it all to me, and I thought to myself, ‘What if she says no to all of these laws and traditions? What if she wants to fight? And how is it possible that we’re still governed by laws created more than a 1000 years ago?’ All of this inspired ‘Inshallah a Boy.’” 

Social commentary in Jordanian cinema, of course can be a tricky proposition. Earlier this year, director Bassel Ghandour’s film “The Alleys” was massively popular when released on Netflix, but quickly stirred huge controversy, with members of parliament going as far as to openly condemn the acclaimed film. While “Inshallah a Boy” was already completed before “The Alleys” began to dominate the national conversation, Al-Rasheed was keenly aware that his own film may generate fierce debate. That was exactly the point.  

“Jordan has a young film industry, and people are still not used to seeing themselves in a mirror — especially if that mirror image is an ugly one. It’s a sensitive audience. There is still no clear understanding that film does not exist to promote, or to make things look beautiful. Cinema is storytelling — it’s expression and point of view. But even if we, as artists, depict a bitter reality, that does not mean we don’t love our country. It just means we want to have an open discussion and ask questions without judgment. I’m not here to provide solutions,” Al-Rasheed states.  

For Al-Rasheed, “Inshallah a Boy” is also a thank you of sorts to the many women who helped make him the man he is today. (Supplied)

“I don’t want to change anything. I don’t believe that an artist even has the power to do so. But we do have the power to start a conversation. If I had the intention to change anything, I’d be a teacher. Cinema can certainly open eyes, but we can’t give it too much credit. If art could change things by itself, we’d be living in a much better world than we are. But we’re not, so it can’t,” he adds with a laugh.  

Even if art doesn’t have the power to rewire society on its own, it can still be a powerful tool. For Al-Rasheed, “Inshallah a Boy” is also a thank you of sorts to the many women who helped make him the man he is today — who shaped his perspective and yet have rarely had their own perspectives represented on screen, especially in the region. 

“I was raised in a family full of women, and I’ve been listening to their stories since I was a little kid. Most of these stories do not reflect well on the male figures in their lives, if I’m being honest. And their stories stayed in my mind, as did the injustices they experienced. I felt I wanted to tell those stories because I felt so connected to them — I can’t tell a story if I don’t have a deep link to it —so there was no choice for me but to make this film,” he says. 

Amjad Al-Rasheed took the stage to accept the Rail d'Or at the 2023 Cannes Film Festival. (Supplied)

In executing that vision, the only thing that concerned Al-Rasheed was authenticity, because there was no point in telling a story that he felt was so true unless it was true at every level of its depiction. That meant recruiting his two female co-writers — Rula Nasser and Delphine Agut — to be sure that the film was centered on Arab female voices and was thus realistic beyond just his personal perception of those stories. In casting, he focused more on the person auditioning than the way they performed, looking for actresses who matched the characters even unintentionally.  

“I just sat there in the auditions and talked to them about life, society, and the film — arguing with them about the issues at hand. I wanted to understand them as people, and to study their body language — because I could see in the way they moved if they fit the characters,” says Al-Rasheed. 

Now that the film has proven to be a hit across the world, Al-Rasheed is both proud and a little melancholy. As excited as he is to finally generate the conversations he once envisioned, it’s also been hard to say goodbye to the process of making the film, even as he looks forward to the next projects he has in the works as he approaches the next level of success.  

“It’s a mixed feeling. The film is out there, and that means it’s not for me anymore. I can’t control it. It has its own life. It’s for the people. My job is done,” he says. “But that’s part of what I love about what we do. That’s the beauty of cinema.”  


‘Three’ director Nayla Al-Khaja on why she is forging ahead with horror films

‘Three’ director Nayla Al-Khaja on why she is forging ahead with horror films
Updated 01 December 2023
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‘Three’ director Nayla Al-Khaja on why she is forging ahead with horror films

‘Three’ director Nayla Al-Khaja on why she is forging ahead with horror films
  • The psychological horror stars ‘Oppenheimer’ and ‘Game of Thrones’ actor Jefferson Hall and newcomer Saud Alzarooni
  • Nayla Al-Khaja is heading to Jeddah’s Red Sea International Film Festival to thrill audiences with ‘Three’

JEDDAH: Widely recognized as the UAE’s first independent female filmmaker, Nayla Al-Khaja is heading to Jeddah’s Red Sea International Film Festival to thrill audiences with her latest psychological horror movie “Three,” which is also her debut feature-length film.

“Three” follows a young boy who is believed to be possessed. Ahmed (Saud Alzarooni) is being bullied at school and starts behaving strangely, leading his mother Maryam to believe he must be cursed. She takes him to a traditional healer, after which his condition worsens. A British doctor (Jefferson Hall) is initially skeptical but soon immerses himself in the boy’s culture in a bid to save the child's life.

The director’s previous work includes short films “The Neighbor,” “Malal,” “Animal,” and “The Shadow,” and she spoke to Arab News about why this was the right time for her first feature, which boasts a running time of 94 minutes and features a mix of English and Arabic on screen.

“All my life, all I wanted to do is do a feature film, but there was never a story where I felt passionate enough to take that first step,” she said, adding the major hurdles she faced initially were not creative, but financial.

“We live in the UAE. We don’t really have a very robust local film (industry). Where do you begin? How do you raise money? How do you find the right producer? How do you package the film so it has a chance to succeed? The deals, sales agents, pre-sales, all that stuff that no one ever teaches you.”

Widely recognized as the UAE’s first independent female filmmaker, Nayla Al-Khaja is heading to Jeddah’s Red Sea International Film Festival. (Supplied)

Just before the pandemic, Al-Khaja pulled the plug on her own company, giving her the space and time to create content.

“This huge weight was off my chest. I was starting to write … and at that point, I had already shot the concept film of ‘Three,’ which is called ‘The Shadow,’ which is running on Netflix right now,” she said.

“I already had a concept film, which obviously made it a little bit easier to raise funds. So once that happened, COVID-19 hit, the world took a massive pause. It was a catastrophe for many people. But as a new mom, it was the perfect timing. So, I took that time to flesh out my feature film.”

Overcoming obstacles seems to be a pastime for Al-Khaja, who wears many hats, from director to producer to fundraiser.

“I’m an all-rounder. I’m actually very good at raising funds,” she said, before detailing how she managed to “slash the budget by half without slashing the value of the film and the quality … by simply changing a few things.”

Nayla Al-Khaja on the set of 'Three.' (Supplied)

She added: “The first thing was going from 123 pages to 98 pages and then changing countries altogether. Taking a leap of faith and shooting in Bangkok — that slashed our budget.”

Considering the blood, sweat and tears that went into her first feature film, it is telling that Al-Khaja opted for a spine-tingling thriller.

“Pure entertainment,” she laughed, when asked why she chose the horror genre.

“I think it’s really new in the sense that we don’t have a big body of horror work. I think Arab comedy is very popular, and … drama, but not horror. And yes, definitely I would like to pioneer this.

“With horror, you don’t need a cast. You don't need … these famous people. You can do it very low budget. So, the chances of actually a horror (film) making its money back is quite high.

“And I think there will come (a time when) a horror (film) will break the glass ceiling,” she said, adding that historically film distributors may not have had faith that “foreign language horror would travel like English films do.”

Jefferson Hall in 'Three.' (Supplied)

She said: “I think that the whole shift of streamers coming on board buying foreign language (films) is probably changing the face of how one perceives a foreign film, whatever the genre may be.

“It’s such an important part of Arab culture — like the jinns and black magic.

“We’ve always had exorcism in Christianity and other different religions, but never in my own. We didn’t want to label it as exorcism in Islam. But if you speak to any sales agent outside the UAE and you say ‘exorcism in Islam,’ they all raise their eyebrows. That shows you that it’s an area that’s never been really tapped into internationally.”

Al-Khaja heaped praise on teenage newcomer Alzarooni.

She said: “He’s eager, he is prepared, agile, sensitive, just beautiful … I mean, he was 13 when we were rolling and … this is not an easy role.

“When we’re doing the exorcism scenes, there were no special effects, it was just his face. The way he shifts from one look to the other look, it was quite impressive.”

Newcomer Saud Alzarooni stars in 'Three.' (Supplied)

The power in this film, however, is the star of “Game of Thrones,” Jefferson Hall.

Al-Khaja said: “I was intimidated because he’s very seasoned. Christopher Nolan directed him in ‘Oppenheimer.’

“He fits the role so beautifully. The camera loves his close-ups.”

Al-Khaja is now working on her next feature film “Baab,” for which Oscar-winning Indian composer AR Rahman is creating the score.

Meanwhile, audiences in Jeddah can look forward to a psychological horror with heart in “Three.”