Kuwaiti adventurer Yousef Al-Refaie’s quest to document the planet’s most extreme environments 

Kuwaiti adventurer Yousef Al-Refaie’s quest to document the planet’s most extreme environments 
For his upcoming documentary series “Earth’s Extremes,” Al-Refaie decided to visit the hottest, driest, wettest and coldest inhabited places on Earth. (Supplied)
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Updated 02 August 2024
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Kuwaiti adventurer Yousef Al-Refaie’s quest to document the planet’s most extreme environments 

Kuwaiti adventurer Yousef Al-Refaie’s quest to document the planet’s most extreme environments 
  • The Kuwaiti adventurer discusses his upcoming docuseries ‘Earth’s Extremes’ 

DUBAI: Kuwaiti mountaineer and adventurer Yousef Al-Refaie doesn’t make it easy for himself. For his upcoming documentary series “Earth’s Extremes,” Al-Refaie decided to visit the hottest, driest, wettest and coldest inhabited places on Earth. 

Set to air in the first quarter of 2025, the series will consist of four 45-minute episodes and showcase Al-Refaie’s insatiable curiosity, which has driven him to explore the most extreme environments on the planet. 




The series will consist of four 45-minute episodes and showcase Al-Refaie’s insatiable curiosity. (Supplied)

That curiosity began back in childhood, Al-Refaie tells Arab News. “I was a very curious child,” he recalls. “I would open any magazine I could find and tear apart toys to see how they worked.”  

Growing up, he had access to a vast library of adventure books and National Geographic magazines. “I was fascinated by pictures of mountains and exotic places,” he says. 




The show is set to air in the first quarter of 2025. (Supplied)

After dropping out of law school, he came across an Instagram post about climbing Africa’s highest peak. 

“I told my parents I wanted to go before starting my new major,” he explains. “I ended up climbing Mount Kilimanjaro, and although I initially hated the experience — living in a small tent and enduring the climb — I eventually caught the adventure bug.” 

He went on to complete a double major in political science and public administration but, he says, during every vacation, “instead of traveling with friends or family, I would go to mountains.” 




Dallol, previously believed to be the hottest inhabited place, lies 125 meters below sea level. It's a harsh environment where no life can exist anymore due to grueling heat and toxic gases emitted from the volcano. (Supplied)

So far, Al-Refaie and his team have completed filming on three episodes of “Earth’s Extremes.” The “Wettest” episode was shot in July 2023 in the rain-soaked landscapes of Mawsynram and Cherrapunji in India; the “Hottest” episode was filmed in December 2023 in the scorching Afar region of Ethiopia; and the “Driest” episode in the Atacama Desert in Chile, in April and May of this year. 

The team meticulously researched and analyzed maps, discovering that many locations they would visit were either just names, with no information readily available, or ruins of abandoned towns. 

“We live in an era where everything is at our fingertips; I can search for anything and find the answer. But that was not the case for the Atacama Desert and Quillagua (an oasis in Chile recognized by Guinness World Records as the driest place on Earth),” he explaines. “We had to go to every station near Quillagua and gather all the records from the 1960s and 1970s. The most recent records they had were from 2003 and 2004.” 




The team and local historian Fedal Arinsiva standing on the ancient Inca road in Inca del Oro, which dates back to the 15th century as part of the Qhapaq Ñan, spanning approximately 30,000 kilometers across South America. (Supplied)

Another significant challenge he encountered in Chile was the language barrier. “The first time (we went), I couldn’t pronounce the name of any of the towns,” he says. 

Meticulous preparation is key for all Al-Refaie’s expeditions, he stresses. “Planning, reading, and asking people questions are the three most important things to do before our trips,” he says. “Locals, especially, play a big role in this. I’ve met scientists and meteorologists, but the most valuable information I’ve received came from a former prisoner of the old dictator of Chile. He owns a museum now. He does not have a degree and he did not study, but he knows the area extremely well. You’d be surprised at the insights you can gain from the people you might least expect to. It’s like a puzzle, and my role is to piece everything together to make the journey successful.” 




Al-Refaie walking inside Erta Ale Volcano. (Supplied)

Combining insights from experts and locals ensures a well-rounded understanding of each location, he adds.  

Despite being the wettest place on Earth, when Al-Refaie and his team arrived in Mawsynram and Cherrapunji, there was no rain for two weeks. “That opened up a new aspect of the expedition — the world is really changing. If there’s no rain in the wettest place on Earth, there’s definitely something wrong,” he says. “The weather is becoming unpredictable, and those communities rely heavily on agriculture. For eight months of the year, they have rain, but outside of those eight months, they have to buy water from other villages because they do not have dams. They live in extreme conditions, and this is a lesson in resilience and adaptability.” 




Faisal Al-Karam (director), Yousef Al-Refaie (producer and host), and Cristian Ordenes (logistics and guide) from left to right, exploring unprotected archaeological sites around Chañaral. (Supplied)

The final episode will take Al-Refaie to Oymyakon in Siberia, the coldest inhabited place on the planet. Filming is scheduled for December. 

In addition to the documentary, the adventurer plans to release an accompanying book and photobook. All proceeds from the photobook sales will be donated to support communities living in these extreme environments. 

And with the documentary nearing completion, Al-Refaie is already gearing up for his next major challenge: an ambitious endeavor, set for 2026, that will see Al-Refaie and his team attempting to summit three peaks in Asia, rumored to be volcanoes. 




Al-Refaie with fellow explorer James Allen from Australia in the village of Kosowat. (Supplied)

“One of our primary goals is to determine whether these mountains are actually volcanoes,” he said. “If they turn out to be, it would mean the current Volcanic Seven Summits list — which has been completed by more than 30 individuals, including myself — is incorrect. The highest volcano in Asia is currently considered to be Mount Damavand in Iran, but these peaks could change that.” 

Al-Refaie’s team for the trip, who come from the UK, Hungary, the US and Kuwait, is diverse, comprising not just mountaineers but also geographers, geologists and filmmakers. “This expedition is not just about climbing; it's about discovery and potentially correcting a significant aspect of mountaineering history,” he says.  

Al-Refaie encourages other adventurers to break away from conventional paths and seek unique experiences. “Sadly, I always see the same things being done over and over,” he said. “People often think of adventures as climbing Mount Everest, a mountain that has been summited over 7,000 times. Instead, think outside the box. Do what intrigues you.” 

Al-Refaie believes true exploration involves venturing into the unknown and bringing back new information. “Exploration is about going to a place and discovering something new. There is no sense of accomplishment in doing something that has already been done countless times,” he says. “If you really want to explore, you have to step out of your comfort zone and seek out the unknown.”  


Gigi Hadid marks launch of Havaianas line with new campaign

Gigi Hadid marks launch of Havaianas line with new campaign
Updated 01 June 2025
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Gigi Hadid marks launch of Havaianas line with new campaign

Gigi Hadid marks launch of Havaianas line with new campaign

DUBAI: US Palestinian Dutch supermodel Gigi Hadid has unveiled a new campaign with Brazilian footwear brand Havaianas.

The model, who launched a line with the flip flop label, stars in a vintage-inspired series of photographs. In the shots, she shows off slippers from her collection with the brand and is seen wearing retro outfits on a beach.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Havaianas (@havaianas)

Hadid celebrated the launch at a party in Altro Paradiso in New York last week.  At the event, she wore flip flops paired with a white tweed Marc Jacobs minidress, featuring vibrant scattered crystals.

The model is no stranger to making creative decisions and is also the founder of her own cashmere brand, Guest in Residence.

She launched her clothing label, which features soft, colorful knitwear, in September 2022.

“Over the last handful of years, I didn’t want to be backed into starting my own line just because there was an offer on the table or a deal to be made,” she wrote to her followers on Instagram at the time.

“The earliest days of Guest in Residence came about when I started to question the cashmere market, and those answers gave me a path,” she wrote.

“I believe that because of its sustainable qualities — natural and made to cherish and to pass down — cashmere is a luxury that should be more accessible.”

Earlier this year, Hadid celebrated her birthday party at Le Chalet in New York City.

Hadid entered the venue with her partner, Oscar nominee Bradley Cooper on April 25, and met up with her sister Bella Hadid, mother Yolanda Hadid, father Mohamed Hadid, Russian media personality Keni Silva and US actress Anne Hathaway, among others.

Gigi’s birthday was on April 23, and the internet was abuzz with celebrities, designers, family and friends who sent birthday wishes to the supermodel as she turned 30.

 


Nayla Al-Khaja reflects on new film ‘BAAB’ and Canon collaboration

Nayla Al-Khaja reflects on new film ‘BAAB’ and Canon collaboration
Updated 01 June 2025
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Nayla Al-Khaja reflects on new film ‘BAAB’ and Canon collaboration

Nayla Al-Khaja reflects on new film ‘BAAB’ and Canon collaboration
  • The director a is frequent guest at the Cannes Film Festival and partnered with Oscar winning Indian musical composer and record producer A. R. Rahman on the score for her latest film
  • Her previous feature “Three” played at Saudi Arabia’s Red Sea International Film Festival and the Shanghai International Film Festival

DUBAI: UAE filmmaker Nayla Al-Khaja, a pioneering voice in Emirati cinema, has wrapped production on her second feature film, “BAAB,” and is also taking part in a renewed partnership with Canon Middle East as part of the brand’s “See No Limits” campaign.

In a conversation following the film’s completion, Al-Khaja told Arab News “BAAB,” set for release after the summer, marks a creative milestone in her career. 

“It really feels like I found a language I enjoy in filmmaking,  like my own artistic voice,” she said, highlighting its striking visual style and deeply immersive atmosphere. Compared to her debut feature “Three,” she described “BAAB” as a significant evolution in her storytelling and visual approach.

“Haunted by a mysterious rhythm after her twin sister's death, Wahida's journey to find answers pulls her deep into the mountains. As she unravels her grief, she descends into madness, blurring the line between reality and imagination,” the logline of the film reads.

Her previous feature “Three” played at Saudi Arabia’s Red Sea International Film Festival and the Shanghai International Film Festival. She is also a frequent guest at the Cannes Film Festival and partnered with Oscar winning Indian musical composer and record producer A. R. Rahman on the score for her latest film.

Al-Khaja continues to work in psychological horror, drawn to its emotional impact and the technical challenge of filming in low light. “You feel like you are pulled like a magnet, pulled into a very ethereal, very haunting world… it is just so visually beautiful,” she said.

The director is also working with Japanese corporation Canon on educational initiatives aimed at emerging filmmakers. 

As part of the “See No Limits” campaign, she led a workshop for film students, emphasizing both the technical strengths of Canon’s EOS R5 Mark II and the importance of narrative-driven visual decisions. “Although you have the camera, if you don’t know how to position it in sense of what your story is trying to say… how far can you push your own limit?” she said.

Al-Khaja’s collaboration with Canon began in 2011. Their latest campaign focuses on empowering female filmmakers across the region. 

While she notes there are still only a handful of women working full-time in the UAE film industry, she sees growing momentum driven by regional grants, commissions and the demand for streaming content.

“When I started, I didn’t have a role model,” she said. “It is good to know that you now have an older generation that you can reach out to.” 


Review: ‘Doom: The Dark Ages’ sets new bar for first-person carnage

Review: ‘Doom: The Dark Ages’ sets new bar for first-person carnage
Updated 31 May 2025
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Review: ‘Doom: The Dark Ages’ sets new bar for first-person carnage

Review: ‘Doom: The Dark Ages’ sets new bar for first-person carnage

LONDON: The first “Doom” game back in 1993 helped define the first-person shooter genre, spawning numerous sequels and even a Hollywood film. Now it is back, and in a crowded market packed with chaotic shooters and arena brawlers, this game slices its way into the pantheon with style — and a spinning shield saw.

Boasting 22 adrenaline-soaked levels, “Doom: The Dark Ages” sticks to the classic formula of annihilating every enemy in the room before moving on. Yet it rarely pauses for breath, charging through its campaign. While there are secrets to uncover and collectible toys to find, it always feels hurried, pushing players forward with breakneck urgency.

Where it stands out is in its innovative combat tools — a shield saw that doubles as a melee weapon, a flail for crowd control, and a shield charge that turns defense into offense. Combat is fast, demanding, and utterly satisfying, especially in boss fights where success hinges on timing and picking the right attack for the enemy.

The gunplay is awesomely brutal and weapons evolve through Sentinel Shrines, letting players fine-tune their arsenal to match the rising difficulty. This isn't just a shooter; it’s a metal-fueled ballet of aggression, where being passive is punished and staying alive means staying angry.

The music? Pure heavy metal fury, matching the gameplay beat for beat. Visuals run at a crisp 60 frames per second and every environment drips with cosmic dread, from crumbling hellscapes to star-forged citadels. The new cosmic realm adds visual diversity, while massive set-pieces like dragon-riding with autocannons and piloting giant sentinels crank the spectacle to 11.

This is bone-crunching mayhem at its finest. It’s Halo-esque in scope, “Doom”-like in execution, but ultimately a beast of its own making.


Basmah Felemban unpacks memory, identity in Riyadh solo show ‘Vessel of Wreckage’

Basmah Felemban unpacks memory, identity in Riyadh solo show ‘Vessel of Wreckage’
Updated 30 May 2025
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Basmah Felemban unpacks memory, identity in Riyadh solo show ‘Vessel of Wreckage’

Basmah Felemban unpacks memory, identity in Riyadh solo show ‘Vessel of Wreckage’

RIYADH: Seasoned Saudi artist Basmah Felemban’s work will make you think. In her latest solo exhibition, “Vessel of Wreckage,” which runs at ATHR Gallery in Riyadh until June 26, she combines elements that many of us can relate to while being authentically, fully herself.  

“In the past five or six years, my practice has been really an investigation of my family roots from Indonesia and — kind of as a result of getting into sci-fi — to have some imaginary explanations of those reasons why they came from Indonesia to Saudi, because I failed at the factual research, really,” Felemban, who lives and works between London and Jeddah, tells Arab News. 

“When did my family move? This is one of the mysteries — part of the myth of the family. I have no idea. I’d say that my granddad came to Saudi for work, probably in the Seventies. But I’d learned that Felemban, our last name, comes from an island called Palembang, so in kindergarten I used to tell people I was a princess because I’m used to, like, the Al-Saud family and Saudi Arabia, so I thought since I’m Felemban from Palembang, I must be a princess.” 

Growing up, Felemban assumed that they had no Saudi relatives, until her brother serendipitously found out that they had cousins in town.  

“I realized, ‘Oh! We do have extended family here; we’re just not connected to them.’ And that’s also part of the myth and the lore of our family story. Once I realized that, it kind of clicked with me that our identities are really just a construct — it doesn’t really matter if they’re factual. I don’t think my family intentionally tried to lie. I think they believed this was the story.” 

All of this was part of Felemban’s world building.  

“I think, in Hejaz in general, people came from all over and there was this whole umbrella under which we wanted to identify as ‘Saudi’ for a lot of time. Like, if you speak to me about anything Indonesian, I would have no idea, because my family really assimilated,” she says, adding that she hopes to visit Indonesia soon.  

“I wouldn’t say I feel like I’m part of a diaspora, even if I am, factually. But I think Saudi is a very specific, special case in terms of identity. I feel like I’m more interested in the family story and why their connections are the way they are. 

“I didn’t grow up in an environment where ours was a weird story,” she adds. “Even my friends that are Bedouin are still also away from where they are from.” 

Here, Felemban talks us through several works from the show. 

‘Pulang (To Go Home)’ 

Photo: AN/Huda Bashatah

There are five ship windows looking out on five different topics that I researched, from facts to absurd sci-fi stories. They’re videos collected from YouTube — just rabbit holes I fell into. I really like to document my research and my notes, then my work grows like a mind map — I connect words and then try to connect concepts between those words and visuals. The first window starts with a propaganda documentary about the colonial history of Indonesia and its impact on folklore dances and music. Then a scene that a lot of my world is based on; Indonesian pilgrims reciting a religious song about the prophet. 

I realized that another connection between Indonesia and Saudi is catfish — another creature of myth. A few years ago, people realized that there’s a lot of huge catfish in Wadi Hanifa and they started to ask: How did they come here? I like that, as a myth. In Indonesia, the catfish is a really huge asset, but also has some negative connotations.  

‘Fish from the Ground’ 

This work talks about the catfish myth. They are an invasive species and tend to be really vicious and really quick to adapt, so in less than a couple of hundreds of years it was able to evolve from swimming to being able to ‘walk,’ almost on land. That’s likely where the term ‘catfishing’ comes from.  

‘Wave Catcher’ 

When I was approached by the Islamic Arts Biennale (in 2023), I thought, ‘My work is quite futuristic, very colorful and digital, so how can (make it fit) in?’ I think of this work like an ancient machine used by the catfish to collect data by listening to sounds of the calls to prayer from countries around the Red Sea. And by hearing it, the fish are able to measure distances, and study the water and such. That thought was based on research from lectures from scientists. 

‘The Gömböc, the Turtle and the Evolution of Shape’ 

Photo: AN/Huda Bashatah

This is a game based on a lecture by a scientist. If you put the headphones on, you can hear the lecture and then when you reach the top of this fish mountain, there’s a room that has a table that also existed in the lecture and you can interact with that. It’s a video game I made with my husband. He’s an economist so he helps me a lot with conceptualizing what data could be like — that kind of geeky aspect of my work. It’s very experimental and it’s a little bit janky — in the best way possible!  

‘Elemental Sprite’ series  

These AI works — “Sphere,” “Rod,” “Disc,” and “Blade” (shown here) — are based on some of the same research as “Wave Catcher,” which is some sort of mathematical study of pebbles and the way that pebbles change in nature. But also, if you scan one of the squares, it animates. I’m very much a digital artist at heart and AI is something I’m really interested in, but I have to say that I don’t use AI in engines; I use sort of ‘offline AI.’ I use the modules themselves, the interfaces. Every six months, AI completely changes in quality because it really develops, and I learn more too. This is almost like a documentation of my learning curve, and of the technology itself. 

‘Before Asphalt’ 

These are pictures that I stole from my dad before he passed away. He used to work at the municipality, and these were pictures from the Nineties documenting some of the potholes around Jeddah. I like to think of the city as a galaxy and the potholes as portals. The yellow looks like slime — I’m definitely a cartoon girl and this is like “(Teenaged Mutant) Ninja Turtles” sludge. I think maybe it’ll appear again in another work and I’ll get more into this portal idea. 


REVIEW: Guy Ritchie’s ‘Fountain of Youth’ — ‘Indiana Jones’ wannabe fails miserably

REVIEW: Guy Ritchie’s ‘Fountain of Youth’ — ‘Indiana Jones’ wannabe fails miserably
Updated 30 May 2025
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REVIEW: Guy Ritchie’s ‘Fountain of Youth’ — ‘Indiana Jones’ wannabe fails miserably

REVIEW: Guy Ritchie’s ‘Fountain of Youth’ — ‘Indiana Jones’ wannabe fails miserably

DUBAI: You know those fake films you see in TV shows like “30 Rock” or, more recently, “The Studio”?  Guy Ritchie’s latest misfire, “Fountain of Youth,” captures that vibe perfectly.

A chaotic, charmless attempt at action-adventure, “Fountain of Youth” clearly takes its inspiration from “Indiana Jones,” but ends up as a muddled mess of clichés, clunky dialogue, and a lead who never quite convinces.

The latter is John Krasinski as Luke Purdue, an archaeologist-turned-art thief racing to uncover the location of the legendary Fountain of Youth — believed to be capable of bestowing eternal life — with the help of rich benefactor Owen Carver (Domhnall Gleeson), a billionaire with a fatal illness who’s ready to throw all his money into the quest.

When things go awry, Luke reaches out to his younger sister Charlotte (a resplendent Natalie Portman) for help. The squabbling siblings then set off on a globetrotting adventure, while being chased by shadowy organizations and Interpol.

The problem? Krasinski brings all the gravitas of a put-upon history teacher on a school field trip. There’s a stiffness to him that means you never quite shake off the sense that he’s just playing dress-up.

Portman and Gleeson fare better. Portman, playing a sharp-tongued art curator and a mother on the brink of divorce, injects moments of tension and vulnerability that almost make you care about the story. Gleeson, meanwhile, steals every scene he’s in as he descends into villainy. But even their combined charisma fails to inject life into the limp script.

Other noteworthy performances come from Eiza Gonzales, who plays Esme, just one of the many people trying to stop the siblings from uncovering the Fountain of Youth; and Arian Moayed, who plays Interpol’s Inspector Abbas.

Ritchie’s signature snappy style is drowned under a deluge of poorly choreographed chase sequences, same-y set pieces and exposition-heavy dialogue. The film looks expensive but feels lazy, with international locations reduced to postcard backgrounds.

“Fountain of Youth” wants to be thrilling, funny and smart. Instead, it’s repetitive, cringey and talks down to its viewers.