Jeddah university alumna’s film selected for Tribeca festival

Special Jeddah university alumna’s film selected for Tribeca festival
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Dur Jamjoom’s graduation film from Effat University, ‘Kum Kum,’ will be shown at the prestigious Tribeca Film Festival in New York. (Supplied)
Special Jeddah university alumna’s film selected for Tribeca festival
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Dur Jamjoom’s graduation film from Effat University, ‘Kum Kum,’ will be shown at the prestigious Tribeca Film Festival in New York. (Supplied)
Special Jeddah university alumna’s film selected for Tribeca festival
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Dur Jamjoom’s graduation film from Effat University, ‘Kum Kum,’ will be shown at the prestigious Tribeca Film Festival in New York. (Supplied)
Special Jeddah university alumna’s film selected for Tribeca festival
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Dur Jamjoom’s graduation film from Effat University, ‘Kum Kum,’ will be shown at the prestigious Tribeca Film Festival in New York. (Supplied)
Special Jeddah university alumna’s film selected for Tribeca festival
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Dur Jamjoom’s graduation film from Effat University, ‘Kum Kum,’ will be shown at the prestigious Tribeca Film Festival in New York. (Supplied)
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Updated 11 June 2024
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Jeddah university alumna’s film selected for Tribeca festival

Jeddah university alumna’s film selected for Tribeca festival
  • ‘Kum Kum,’ directed by Dur Jamjoom, has been chosen for the prestigious Tribeca Film Festival in New York
  • Jamjoom completed the film as her graduation project at Effat University in 2022

JEDDAH: Dur Jamjoom’s graduation film from Effat University, “Kum Kum,” has been chosen for the prestigious Tribeca Film Festival in New York.

Founded by actor Robert De Niro, Tribeca is one of North America’s most important festivals. This year’s event began on June 5 and runs until June 16.

Jamjoom completed the film as her graduation project at Effat University in 2022. She said: “I’m incredibly honored and blessed to be the first Saudi female as part of the shorts program at the Tribeca Festival. This opportunity wouldn’t have been possible without my incredible team.”

The autobiographical film is deeply personal, centering on the untimely passing of Jamjoom’s best friend in 2012. Just 12 years old at the time, the tragic event introduced her to a range of unfamiliar emotions.

As the story unfolds, each person recounts the event from their own perspective. Jamjoom brings these diverse narratives together to form a cohesive story, highlighting the profound impact of one person’s suffering on the lives of others.

She said: “I was hesitant to delve into the memory of my friend who is no longer with us, fearing disrespect. But I realized I’m actually honoring my friend, who made me into the person I am today.”

During production, Jamjoom faced numerous challenges. “We shot the movie in the sea, but the waves were uncooperative, and many people were getting seasick,” she said.

“The underwater housing case for the camera posed unique challenges I had never encountered before. I had to trust my team and stay focused on directing.”

She hopes the film inspires audiences to see the light after darkness, emphasizing that “where there is grief, there can also be healing, and the transformative power of overcoming life’s challenges.”

Speaking about the film’s deeper meanings, she said: “In the movie, ‘Kum Kum’ serves as a traditional Saudi game that holds symbolic significance. The game metaphorically represents how life presents unexpected moments, and individuals must adapt to the changes. ‘Kum Kum’ explores the intricate connections between faith, suffering, resilience, and personal growth.”

Mohamed Ghazala, chair of the Cinematic Arts School at Effat University, expressed his pride and joy in celebrating this incredible achievement. He said: “Jamjoom, one of our finest graduates, has dedicated countless hours to honing her craft at our campus, passionately writing, filming, animating, directing, and documenting real stories.

“The selection of her graduation film for the esteemed Tribeca Film Festival is a tremendous honor for us and for Saudi Arabia as a whole. To be shortlisted from a pool of 8,000 submissions is a remarkable feat that showcases the incredible talent being nurtured within our institution. We are filled with optimism and enthusiasm as we look forward to witnessing more groundbreaking achievements from our talented students in the future.”

He added: “This remarkable accomplishment is a true testament to the impactful teaching at Effat University, empowering students with the strong tools necessary to bring their stories to life, captivating not only local audiences but also international viewers.”


Mohammed Al-Turki attends ‘Mission: Impossible – The Final Reckoning’ premiere at Cannes

Mohammed Al-Turki attends ‘Mission: Impossible – The Final Reckoning’ premiere at Cannes
Updated 15 May 2025
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Mohammed Al-Turki attends ‘Mission: Impossible – The Final Reckoning’ premiere at Cannes

Mohammed Al-Turki attends ‘Mission: Impossible – The Final Reckoning’ premiere at Cannes

DUBAI: Saudi film producer Mohammed Al-Turki was spotted at the red carpet premiere of “Mission: Impossible – The Final Reckoning” at the 78th annual Cannes Film Festival on Wednesday.  

Al-Turki, who previously served as CEO of the Red Sea International Film Festival, wore a midnight blue Berluti ensemble for the occasion. His look featured a satin and Super 200s micro design wool three-piece tuxedo, styled with a matching midnight blue bow tie and cotton shirt. He completed the outfit with black patent leather loafers.

Al-Turki posed for photos alongside Egyptian actress Yousra before the film’s screening. (Getty Images)

He posed for photos alongside Egyptian actress Yousra before the film’s screening.

US actor Greg Tarzan Davis, US actress Angela Bassett, US actor and producer Tom Cruise, French actress Pom Klementieff, US film director, screenwriter Christopher McQuarrie leave after the screening of the film 'Mission: Impossible - The Final Reckoning' at the 78th edition of the Cannes Film Festival in Cannes. (Getty Images)

“Mission: Impossible – The Final Reckoning” stars Tom Cruise, Hayley Atwell and Ving Rhames, continuing the story from 2023’s “Dead Reckoning – Part One.” The sequel follows Ethan Hunt and his team as they face off against the Entity, a rogue AI threatening global security. With the previous installment underperforming at the box office, this chapter is seen as a crucial release for the franchise.

The film is scheduled to hit theaters on May 22.


Saudi digital artist Maryam Tariq: ‘Art became a way to communicate with the world’ 

Saudi digital artist Maryam Tariq: ‘Art became a way to communicate with the world’ 
Updated 15 May 2025
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Saudi digital artist Maryam Tariq: ‘Art became a way to communicate with the world’ 

Saudi digital artist Maryam Tariq: ‘Art became a way to communicate with the world’ 

DUBAI: Against a black background, parts of a face emerge: a chin, followed by lips, ears and eyes — at times alone and at others in unison — colored in yellow, light pink and purple, accompanied by what appear to be lines of TV static in the same colors.  

This digital work, “Memory Recall,” is the latest creation of Jeddah-based Saudi artist Maryam Tariq, which she presented in the digital section of Art Dubai in April, at the booth of Jeddah’s Hafez Gallery. Over the past five years, Tariq, who was born and raised in Yanbu, has made a name for herself with her mixed-media artworks, often utilizing light and 3D projection mapping. 

This digital work, “Memory Recall,” is the latest creation of Jeddah-based Saudi artist Maryam Tariq. (Supplied)

“Memory Recall” creates an alluring, dream-like environment. Tariq says it references human perception just after birth. The work was influenced by philosophical theories about early human development, particularly those of German psychoanalyst Erich Neumann.  

“I wanted to bring back the faded memory of when we were first born and our consciousness was still forming,” she tells Arab News. “It’s an abstract memory because our brain is still trying to make sense of the world; it doesn’t know the difference between an eye or an apple. 

“I feel the artwork represents a good place — a place where our ego hasn’t yet been formed,” she continues. “It’s a good place to try and be in from time to time.”  

The work offers a sense of what she calls “mystical participation,” referring to the period where a newborn has yet to identify themselves as an individual and is trying to make sense of the world around them. By prompting the viewer to delve back into such a state through the work’s dynamic interplay of light and shadows heightened with color, Tariq strives to remove the sense of “I” that dominates our collective experience.  

Tariq’s interest in creating art came early in life, she says, inspired by her father. 

“My father is an engineer and also an artist, but it’s more of a hobby for him,” she tells Arab News. As a child she would watch him sketch and paint and wanted to do the same.  

Her work largely focuses on exploring sacred geometry and the spiritual principles that shape nature, resulting in surreal works bridging the realm of digital and traditional art. (Supplied) 

“It was our way to spend time together. As a child I wasn’t especially talkative or social and art became a way for me to communicate with the world, my friends and family,” she explains. 

Tariq studied animation at Effat University in Jeddah, and earned her diploma in visual and digital production, which she describes as being similar to filmmaking, as it has a strong focus on storytelling. 

Since then, her work has largely focused on exploring sacred geometry and the spiritual principles that shape nature, resulting in surreal works bridging the realm of digital and traditional art. 

In 2020 she launched The Golden Ratio, her own media art agency, which has since produced immersive visual experiences for music festivals and concerts alongside DJs and producers across the Gulf region and Europe.  

Her first solo exhibition, “Remembering the Future,” took place at Hafez Gallery in Jeddah in 2021, and was followed by her inclusion in the 2022 exhibition “Re-appearing Imaginaries” at the Misk Art Institute in Riyadh as well as in Noor Riyadh that same year. In 2023, she showed her work at the Sharjah Islamic Arts Festival and in 2024 she was part of the Noise Media Art fair in Vienna, Austria.  

Tariq recently completed a stint at the Artist Inn Residency in Ubud, Bali, which prompted her to embrace nature and traditional art forms while also distancing herself a little from the tech that dominates daily life.  

“I feel sometimes I get exhausted from using too much technology and feel like just going back to nature and using my hands. So that’s what I did,” she says. “I learned how to sculpt. And after I took it into the digital world. It was a nice experience to mix both. 

“I feel drawn to the digital realm because it’s fun and you can do so much with it; you can go wild with your imagination,” she continues. “But I also feel more involved with traditional (art). While technology is always being updated — always growing with new things to do and explore — I also love the traditional. I feel, sometimes, the need to strike a balance between both.” 

Through her art, Tariq hopes to offer her viewers an experience of escape, contemplation and possibly a shift in perception. 

“I want to take them to this place where they are calm and are just a baby again, experiencing the world for the first time to make sense of things,” she says of “Memory Recall.” “It’s an experience where color is new, and everything is new. I want to offer this perspective of looking at the world with pure eyes.” 


Saudi-backed ‘Promised Sky’ premieres in Cannes’ Un Certain Regard section 

Saudi-backed ‘Promised Sky’ premieres in Cannes’ Un Certain Regard section 
Updated 15 May 2025
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Saudi-backed ‘Promised Sky’ premieres in Cannes’ Un Certain Regard section 

Saudi-backed ‘Promised Sky’ premieres in Cannes’ Un Certain Regard section 

DUBAI: Saudi Arabia’s Red Sea Fund-backed feature “Promised Sky” premiered at the 78th Cannes Film Festival as part of the Un Certain Regard section on the event’s second day. 

Directed by Erige Sehiri, the film is among the latest international projects supported by the Red Sea Film Foundation, which champions emerging filmmakers. 

The premiere was attended by Sehiri and lead cast members Deborah Naney, Aissa Maiga and Laetitia Ky, who gathered for the film’s official screening and red carpet appearance.

“Promised Sky” follows the fate of three women, a pastor, a student and an exiled mother, whose delicate cohabitation shifts when they take in little four-year-old Kenza, rescued from a shipwreck. 


First MADE. design forum in Jeddah gave ‘equal weight to the mind and the hand,’ says organizer 

First MADE. design forum in Jeddah gave ‘equal weight to the mind and the hand,’ says organizer 
Updated 15 May 2025
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First MADE. design forum in Jeddah gave ‘equal weight to the mind and the hand,’ says organizer 

First MADE. design forum in Jeddah gave ‘equal weight to the mind and the hand,’ says organizer 

JEDDAH: The inaugural MADE. design forum was held at the West Hajj Terminal of Jeddah’s King Abdulaziz International Airport’s Biennale Cultural Program building early this month.  

Organized by the Diriyah Biennale Foundation, the four-day event concluded on May 4, with the second Islamic Arts Biennale — its backdrop — continuing until May 25. 

Sybel Vazquez, director of public programs at the Biennale, said of the forum: “We wanted the name to be a declaration — and the capital letters give it weight. The full stop was to imply completion, intention and confidence. We wanted to honor the act of making as something deliberate and considered while also inviting inquiry.” 

She also emphasized the significance of launching MADE. in Jeddah.  

“Jeddah is a city layered with histories—of trade, migration, craftsmanship and exchange,” she told Arab News. “To launch MADE., alongside the Islamic Arts Biennale, is to situate design within a continuum of cultural production that is both deeply rooted and forward-looking.” She added: “This proximity creates an exciting dialogue: between contemporary makers and the material legacy of Islamic art, between local sensibilities and global conversations.” 

Twenty designers from across the world participated in the forum:   

Josean Vilar and Silvana Catazine of Barcelona-based NAIFACTORY; Lebanon- and UAE-based Roula Salamoun Studio; Stephanie Sayar and Charbel Garibeh, whose eponymous practice is based between Beirut and Paris; Bahrain’s Nermin Habib; US-based Jordanian Ishraq Zraikat; Egyptian designer Salma Barakat, representing Ba Atelier; Doha-based Boo Design Studio—founded by husband-and-wife Amanda and Jo Booabbood; New York-based Argentinian Sabrina Merayo Nunez; India-based ceramicist Aman Khanna, founder of Clayman; Pinar Ozoruc of Istanbul-based Pinoli Glass; Lebanese-Polish designer and architect Tara Sakhi; UK-based Phoebe Stubbs, representing her brand, Gather; Paris-based Ariel Andre, founder of Golem; NY-based furniture brand Alexis & Ginger; Kind of Design Sculpted & Woven from Türkiye; VivErdie from the Netherlands; Pauline Leprince from France; Jordan-based Razan Seikaly’s Fastoun; and Riyadh- and Istanbul-based Palestinian furniture design duo Reem Olyan and Jumana Qasem. Saudi’s own Noha Mukhtar added a local architectural perspective to the work on display. 

The forum championed a morphing design landscape — a convergence of creativity, craftsmanship and critical thought. MADE. was both a destination for acquiring thoughtfully-crafted objects and a platform celebrating the design industry, offering a lively space where art, engineering and craft intersected. 

It also offered both exposure to and exchange with peers, audiences, and the broader currents shaping global design. “We hope to have accomplished that with this inaugural edition,” Vazquez said, adding that MADE. was intended to “give equal weight to the mind and the hand.” 

The four panel sessions — MADE to Last, MADE you Look, MADE you Think, UnMADE Histories, and What Are You MADE Of? — offered layered, critical conversations around tradition, ethics, memory and identity. Meanwhile, immersive workshops encouraged participants to get their hands dirty and their imaginations active. Each activation, in its own way, opened new paths for thinking and doing. 

“The success of these sessions reminded us that design isn’t just something to observe or critique — it’s something to try, to feel, to shape,” Vazquez said. 

“MADE. was born from a desire to celebrate the act of making — not just as a technical skill, but as a cultural gesture,” she continued. “It brings to the surface the rigor, experimentation, and local intelligence embedded in design practices across our region and beyond. At the Diriyah Biennale Foundation, we are committed to expanding the contours of contemporary cultural discourse. MADE. adds a vital dimension to that endeavor by focusing on design as both a process and a way of thinking — bridging material innovation, ethical inquiry and heritage.” 


Oman debuts at Venice Biennale with Sablah-inspired pavilion

Oman debuts at Venice Biennale with Sablah-inspired pavilion
Updated 14 May 2025
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Oman debuts at Venice Biennale with Sablah-inspired pavilion

Oman debuts at Venice Biennale with Sablah-inspired pavilion
  • Inspired by Omani ‘Sablah’ communal space
  • Architect Majeda Alhinai fosters connections

DUBAI: The Sultanate of Oman has marked its debut at the 19th International Architecture Exhibition of La Biennale di Venezia with a thought-provoking pavilion titled “Traces,” curated by Omani architect Majeda Alhinai.

Drawing inspiration from the Sablah — Oman’s traditional communal gathering space — the pavilion reimagines this architectural concept as a modern civic space, rooted in cultural continuity and adaptive design.

The pavilion is curated by Omani architect Majeda Alhinai. (Supplied)

Unlike conventional references, the Sablah in “Traces” functions as an architectural method, not merely an aesthetic reference. Its open circulation, shared presence and adaptability are reinterpreted for contemporary public life.

It proposes a new civic space that remains culturally specific while addressing global concerns of collectivity, sustainability and architectural responsibility.

The pavilion’s structure is built entirely from raw aluminum, utilizing a custom system of folded and cut panels.

Each panel is precision-cut with patterns inspired by Omani cultural practices — palm frond weaving, carved wooden doors, and the Falaj irrigation system.

One of the pavilion’s standout features is its commitment to sustainability and reuse. The entire assembly is designed for easy disassembly and transportation, ensuring no material loss.

Following the Biennale, the structure will be permanently installed in Oman, maintaining its scale and purpose as a civic gathering space.

Curator Majeda Alhinai said: “The pavilion is not a symbol of tradition. It is a working model for how civic space can be reimagined through inherited systems of making, maintenance, and adaptation.”

The Omani pavilion opened on May 10 and will be at the venue until Nov. 23.