Saudi contemporary artist Sultan bin Fahad discusses his favorite works 

Sultan bin Fahad is a Riyadh-born, New York-based contemporary artist. (Supplied)
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Updated 05 September 2024
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Saudi contemporary artist Sultan bin Fahad discusses his favorite works 

  • ‘My medium is storytelling,’ says Sultan bin Fahad

DUBAI: The Riyadh-born, New York-based contemporary artist Sultan bin Fahad has been creating artworks since childhood. But, he says, he didn’t know that’s what he was doing for a long time.  

“I always felt like I had a certain creativity in me,” he tells Arab News. “I was making what I called ‘things.’ But it was a hobby, you know? I thought it was like interior design — decorating my room. I didn’t know it could be considered art.” 

At the time, bin Fahad was focused on building a career in the navy and on taekwondo. He had realistic hopes of competing in the 1992 Olympics in Barcelona, he says. But a series of injuries put paid to both of those dreams, and left him wondering what to do next.  

He ended up studying business in San Francisco, where his accommodation was close to an art academy.  




(Supplied)

“I’d pass by and see their work; that was the first time I was exposed to modern and contemporary art. And I realized, ‘Oh. So whatever I’ve been doing is probably considered some sort of art.’” He laughs. “That’s how I became aware of my ability to create artworks.” 

He has become known particularly for his intricate and colorful beaded works, often created by artisans from the Hausa tribe in Nigeria.  

“They have an interesting story,” he says. “They are Muslims, they study the Qur’an. But they kept the language of their tribe. They know all about Saudi. You can actually find descendants of the same tribe in Jeddah and Makkah. Back in the day, they travelled or went for Hajj and they never left. They stayed there for three or four generations.”  

Beyond the physical side of his work, however, he says the most important thing is that each piece tells a story.  

“I always say my medium is storytelling. I hate it when you show someone something and they say, ‘OK, what am I looking at?’ That means you definitely failed to show any emotion in your work. Like, I still make abstract paintings, and there is basically nothing to say about them. But people forget that there is an emotion when you look at something: you might feel happy, you might feel sad, you might be attracted to the colors. But if you look at any piece and you don’t get any idea in the first 10 seconds, then I failed.” 

Here, bin Fahad talks us through some of his most significant works. 

‘Delights III’ 

This series, “Delights,” came about during COVID lockdowns. I collect a lot of found objects, because they inspire me. I’d found these small gift boxes that used to have candy or nuts in. They come with different phrases on them, like, “May your day be filled with happiness and joy.” And there’s always a picture of shaking hands. The handshake is a universal gesture. And during COVID, we didn’t have that. People didn’t shake hands. Some people didn’t even see anyone. It was a dark time. So I thought, “OK, what if we had something in people’s homes, to give joy and a little hope?” First of all, I did a series of beaded works, and they were shown in an online art fair. Then this friend of mine who is a carpet maker had the idea of making carpets designed by artists from the GCC. And they chose me to represent Saudi. So, I designed this carpet. It’s this whole concept of hopeful, beautiful work that you can see every day and can give you good energy. It’s not an artwork; it’s part of the house. It’s living with you. 

‘Desert Kite’ 

This was created for Desert X AlUla. AlUla is so beautiful. You can’t compete with it. So I wanted something that would basically separate you from the environment; something with walls, so you don’t know what’s around you and you can basically listen to the environment — to silence. 

I have this fascination with history and heritage. There are these very interesting structures around the north west of Saudi and the south of Jordan: desert kites. The first time they discovered them was, I think, during World War Two. They were flying over them. You only can see them from above. And I wondered what their purpose was. Some people say that they’re prehistoric animal traps from thousands of years ago, so my intention was to create something telling that story, so that little blue-green object inside? That’s like the bait — food or water. That makes the animal go inside. Then they’re trapped. And inside the sculpture (on the walls) are a lot of mythical animals: the Medusa, the eagle, the Sphinx — and they’re all trapped in there too. And inside you can sit and actually listen to silence, which is very unusual in a place that is open like that. It’s very interesting. 

One thing I really liked with this work was people’s interpretation of it. A lot of people said it looked like a keyhole — so it was the key to another culture or civilization; or it was the key between the sky and the Earth. I liked how people became their own curator. I’m happy to have people interpret my work the way they see it — as long as they get something out of it.  

‘Window’ 

This was for my project “The Red Palace.” It’s one of my dearest projects. It made me comfortable with what I’m doing. This was my first real installation work, and my first time really doing something conceptual — almost like theater. And it was my first project with the Hausa artisans. And it’s dear to me because it’s a building I was really inspired by — I always used to walk past it as a kid and I always loved it. It defined architecture in Riyadh and it’s central to the history of Saudi Arabia, whether as a royal palace or as a government building. Everything from the Forties or Fifties to the Nineties was run from that palace.  

The whole idea started with Diriyah Season. They wanted to do an exhibition, and I had this idea of doing a performance called “The Royal Dinner.” During that time, King Saud had three chefs, and they’d have a set menu. People think that, in Saudi Arabia at that time, it was all Bedouin. But no, we had sophistication. But nobody talks about it, and it’s not in in books. So I wanted to recreate this royal banquet to celebrate those behind the scenes; the labor that people don’t know about. I submitted this idea to the Ministry of Culture, and they approved it. So then I went and visited the palace, and I was like, “OK, this is much bigger than my idea, why don’t we expand it?” So we did a lot more, including “Window,” which has actually now been acquired by the Guggenheim Abu Dhabi. It’s another dear work to me, because each window was reclaimed from a region of the Kingdom. And it’s backlit, so it shows you how beautiful it would feel to be in those houses with those windows. And it unifies all the regions into one. Like a lot of my work, it’s also nostalgic. When you see those windows, you think back: “Oh, I remember the time when we were kids and playing here and there.”  

‘Trust’ 

These chairs were thrones for my “Red Palace” project. When I was looking into doing some beaded work — I wanted to do something in Africa, generally — I didn’t know how to get a contact. I saw I had an Instagram follower from Nigeria. I had no idea who she was. I just DM’d her, and asked if she knew anyone who could make beading work in Nigeria. She said she didn’t, but she could look into it. And she found someone. I showed them what I wanted to do — this was for “The Red Palace” — and while I was doing that, she messaged me and said: ‘Can I ask you a question? Why did you trust me to do this?’ I said, ‘Well, if you want something done, you have to trust someone.” Otherwise I’d have to have travelled myself, you know? When I told the curator this story, she said, “We have to call that piece ‘Trust.’” Because that’s what it was based on. This collaborative work we did, with workmanship like this, they don’t know how to create something new; they just work on what they know — they bead chairs traditionally. I needed to see if they could do it the way I wanted it to be. But that first collaboration led to a lot of other pieces, because they were open to the idea of doing it in a different form. That’s where the trust came from.  

‘Masallaci’ 

This work is very dear to me. It’s a giving-back-to-the-community work. It’s a beautiful story. During the time when I was doing “The Red Palace” and “Trust,” the Hausa people that were working with me, they work in a village next to Abuja in Nigeria. When they have work, they travel there from their villages and they rent part of the place they’re working in for accommodation. I asked them where they prayed. It kind of made me feel like responsible, like I needed to support the community that was working for me. So, I asked them to decorate part of the place they were working in as a mosque — in their own way, their own traditions, their own language; the writing you see is the Hausa language, not Arabic — in exchange for me renting the space for them, to pray and live and work, for a whole year. Everything inside the mosque is beaded, except the floor. Even the furniture. And they sent a turban for me — you can see it in the picture, a little white turban. The imam of the mosque in Nigeria wears this turban, so this was their gift for me. It’s one of my favorite works. And it was really a collaboration; they designed it themselves, I just gave them the idea. 

‘Laser’ 

This project was called “GWPOW” — which stands for Gulf War Prisoners of War. It’s about the Gulf War, but it’s also relevant to what’s happening now in Gaza. It’s about how life is stolen from kids who become soldiers when they’re supposed to be playing and living. They don’t take the decision, somebody else does.  

I was 19 during the first Gulf War. I wanted to volunteer but I couldn’t, because of my injuries — I’d just had my second knee surgery. So I ended up volunteering as a translator. I went and saw the prisoners of war. Some of them were younger than me. They were, like, 16. They didn’t know what they were fighting for. They were just pushed into the war.  

So this project was about the war, but it’s also thinking about those kids. They were supposed to be playing, not fighting. So I was thinking, ‘How can I portray those kids living during that time, in the desert, waiting to fight or to be killed?’ So this project became, like, a playroom for grownups. A recreation center in a war zone — everything is kind of childish. This is one of maybe six paintings I did as part of it, along with beaded works. It’s a pencil drawing, but there’s some collage on it, and some abstract painting, and some ink, so it’s mixed media. So the guy holding the lightsaber, that helmet looks like Darth Vader, but it’s not. It’s the helmet of Saddam Hussein’s Fedayeen corps. And I imagined these kids thinking of being a superhero.  

‘Possession’ 

I saw these people at the Prophet’s Mosque in Madinah. At certain times they open it for women, and they allow people to go privately. I was there with my mom and my family and there were screens, and there were these ladies touching the screens. And to me, it felt like, for them, they were in the highest stage of being possessed by religion, in a good way. Feeling invulnerable. They felt like they are connecting with the Prophet. I mean, I don’t know what it meant to them. I don’t know why they were doing it, but it felt so passionate. And it touched me. I felt like, if it gives them satisfaction, let them do it. It felt surreal to me — but I felt their passion.  

‘Once Was A Ruler’ 

This is a combination of different antiquities that were in the National Museum. I was working there at the time. I wanted to talk about something that is taboo. A lot of people think that these pieces are statues of gods. That’s why they’re hidden away. But at that time, these civilizations were not making big sculptures of their gods, they were making them of themselves. They were a sign of power. So I made it look like an X-ray, and I put human bones on it to show that they are human. They were once a ruler, yes, but a person, not a god.  

‘R III’ 

“R III” means Ramses the Third. I did this in Egypt, at the Pyramids of Giza. Like with AlUla, this is a place I am in awe of. Like, I can’t compete with nature or with history, so I tried to work with it, complementing the place without actually trying to put my force or my creative energy in it. I was humbled in these places. So, I can’t compete with the Pyramids, but I tried to make something inspired by them. When you look at it from above, you see it has the seal of Ramses the Third. That seal has been found near AlUla, and that means he was probably there — not for fighting, but probably exploring, looking for copper or something — because the pharaohs wouldn’t usually let their seals be carried by others. So I wanted to show this bridge between Ancient Egypt and Saudi Arabia.  


AlUla a ‘cinematic wonder,’ says exec on 5th anniversary of Saudi Arabia’s Film AlUla

Updated 18 May 2025
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AlUla a ‘cinematic wonder,’ says exec on 5th anniversary of Saudi Arabia’s Film AlUla

CANNES: AlUla’s natural landscapes are fast becoming a national icon for Saudi Arabia, attracting tourists who wish to experience the scenes for themselves. But since the inception of Film AlUla, the region’s film agency, its sand dunes and historic landmarks have traveled the world through cinema. 

As Film AlUla celebrates its fifth anniversary, Acting Executive Director Zaid Shaker sat down with Arab News to discuss the entity’s milestones on the sidelines of the Cannes Film Festival in France.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Film AlUla (@filmalula)

“I think that our voice and our positioning (of) Film AlUla as a catalyst in the Saudi film industry has sort of echoed, and now we have amazing infrastructure,” Shaker said. 

Only seven years ago, cinemas reopened in the Kingdom after a 35-year ban. The establishment of Film AlUla in early 2020, under the mandate of the Royal Commission of AlUla, has played a hand in cementing Saudi Arabia’s role in the international film industry. 

One of Film AlUla’s headlining achievements is Tawfik Alzaidi’s “Norah,” released in 2023, which became the first Saudi feature film to premiere at Cannes. The film, which followed the story of a young girl in the 1990s with a thirst for artistic expression, featured a crew made up of 40 percent AlUla locals. 

This year, first-time director Osama Al Khurayji’s “Siwar” was the opener for the Saudi Film Festival, held at the King Abdulaziz Center for World Culture (Ithra) in Dhahran in April. The film follows two families, one Saudi and one Turkish, as they navigate societal challenges and personal upheavals. Here, AlUla acts as a stand in for the southern city of Najran and the shoot featured an 80 percent local crew. 

Film AlUla executives have long emphasized training the local community as part of their core mission.

The area is home to roughly 65,000 residents, the executive said, and one of the core factors to creating a sustainable film sector is establishing a well-trained local crew. This is done through training programs for capacity-building and skill refinement. 

“Whenever we work on attracting an international production, our organic by-product is sort of upskilling the locals so that they can take this forward and start narrating their own stories,” Shaker said.

The entity recently announced a partnership with Manhattan Beach Studios, which operates more than 600 sound stages around the globe, as operators for their local facilities.

“We try to do everything looking at very high quality and the highest of standards… In partnering with MB Studios to manage our cutting-edge, state-of-the-art facilities, we are showing commitment locally, regionally and internationally, that our positioning is real, and that we offer a seamless, advanced experience to every storyteller that comes to AlUla,” Shaker said.

Some of the first major Hollywood productions to shoot in the region were Anthony and Joe Russo’s drama “Cherry,” and Ric Roman Waugh’s “Kandahar,” and others followed. In 2024 alone, AlUla hosted 85 projects, ranging from films and TV series to commercials and music videos. 

These productions are largely incentivized by the country’s rebates policies, operated under the umbrella of the Saudi Film Commission and the National Rebate Fund.

“We offer 40 percent rebates and an uplift of 10 percent incentives, which are usually designed based on training programs and marketing efforts,” he said. 

This rebate can be elevated to 50 percent when Saudi nationals are employed in key roles within the production.

“AlUla is blessed with a vast, diverse collection of amazing locations. It’s awe inspiring — it’s a cinematic wonder in itself. So part of the attraction and work in bringing productions and building a film sector relies on the sense of location,” Shaker said.

“It’s building on this amazing backdrop, which spans, in its history, more than 200,000 years. The … location has witnessed lots of cultures, lots of civilizations, lots of stories. It’s how we position these amazing, inspiring locations to be pivotal characters in any audio-visual production.”


Women from Pakistan, Middle East showcase powerful themes at international film festival in Islamabad

Updated 53 min 16 sec ago
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Women from Pakistan, Middle East showcase powerful themes at international film festival in Islamabad

  • Eleven short films from Pakistan, Iran, Lebanon, Egypt, Canada, France, Sweden and Spain filmmakers screened at Women International Film Festival
  • Women filmmakers explore powerful themes such as conflict, patriarchal oppression, grief and others at ninth edition of international film festival 

ISLAMABAD: Pakistani women filmmakers, along with their colleagues from Egypt, Lebanon, and other countries, this week showcased short films focusing on powerful themes such as grief, resistance, and patriarchal oppression at the ninth edition of the Women International Film Festival (WIFF) in Islamabad. 

Organized by the Women Through Film community organization that aims to empower women filmmakers by promoting their art, the ninth edition of the festival was hosted at the Islamabad Community Library at the capital city’s I-8 sector on Saturday night. 

The open-air event showcased 11 short films from filmmakers hailing from eight countries, namely Pakistan, Canada, Spain, Iran, Lebanon, Egypt, Sweden, and France. Three of the films were Pakistani productions while the rest were helmed by international filmmakers. 

Each film explored profound themes of grief, resistance and patriarchal oppression.

“This was a dream more than a plan— to encourage women to tell their stories,” Madeeha Raza, WIFF’s curator, told Arab News. 

“We try to prioritize locally made films, and I am glad we have three Pakistani films this year. The films from Iran and Lebanon touched upon resistance and war and how that affects the lives of normal people,” she said.

“I could resonate with that a lot, which made me choose them.”

People watch a film at the Women International Film Festival (WIFF) in Islamabad, Pakistan, on May 17, 2025. (AN Photo)

The festival also featured panel discussions on filmmaking and the role of women in it. Anya Raza, whose film about an Afghan teacher dealing with the horrors of conflict, was one of the highlights of the festival.

Alongside her on a panel discussion were filmmakers Marya Javad and Nargis Muneeb, co-founder of the Islamabad Film Society. The conversation delved into the power of storytelling to challenge narratives and provide a voice to marginalized communities.

“This platform was created to give women a space to make films and submit them,” Raza explained. “The stories seen as controversial need to be shown more because they break the status quo. They shatter the concept of normalcy and allow people to take meaningful lessons.”

For Ayesha Siddiqa, a 25-year-old marketing professional, WIFF was an “eye-opener.” The Egyptian film ‘If The Cat Is Gone,’ which explored the complexities of friendship and societal judgments, stood out for Siddiqa the most. 

“It was a simple story, but it was so relatable,” she told Arab News. “The way it showcased stereotypes we face every day was impressive.”

‘CREATING A COMMUNITY’

The event also offered a valuable networking opportunity for filmmakers. Jawad Sharif, a seasoned award-winning filmmaker, said festivals such as the WIFF are essential for the creative community. 

“Such events motivate artists. In a society where stories of grief and struggle are often ignored, festivals like this ensure they are heard,” he said. 

“It’s not just about watching films, it’s about creating a community.”

People watch a film at the Women International Film Festival (WIFF) in Islamabad, Pakistan, on May 17, 2025. (AN Photo)

Waghma Feroz, a documentary filmmaker from Khyber Pakhtunkhwa, said events such as WIFF are crucial for women to highlight their issues.

“If women create films, they often focus on women’s issues or human rights, which are rarely highlighted in mainstream media,” she pointed out. “Events like WIFF allow these stories to be told.”

Raza, whose film ‘On the Mountain’ touched upon the struggles of Afghan refugees, agreed. 

“Stories about refugees and the human cost of conflict are rarely given space,” she said. “But they need to be told, and festivals like this ensure they reach the audience.”

Due to limited sponsorship this year, the festival was reduced to a three-hour event, which was far shorter than its previous editions. 

Despite the challenges, Raza remained optimistic about the future. 

“We’ve had highs and lows. Some editions were very well-supported,” she noted. 

“This time we couldn’t garner much support and had to rely on partners. But next year will be our tenth edition, and we hope to make it grand,” she added. 


Rawdah Mohamed walks the red carpet at the Cannes Film Festival

Updated 18 May 2025
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Rawdah Mohamed walks the red carpet at the Cannes Film Festival

DUBAI: Somali Norwegian model Rawdah Mohamed walked the red carpet at the 78th Cannes Film Festival in France on Saturday night.

The model showed off a blush pink-toned look, complete with a drop waist, on the red carpet ahead of the premiere of “Die, My Love.”

The model showed off a blush pink-toned look, complete with a drop waist, on the red carpet ahead of the premiere of “Die, My Love.” (Getty Images)

The film is an adaptation of the 2017 novel of the same name by Ariana Harwicz about a new mother who develops postpartum depression and enters psychosis. “Die, My Love,” starring Oscar-winner Jennifer Lawrence and Robert Pattinson, earned a six-minute standing ovation from the audience at Cannes.

Directed by acclaimed Scottish filmmaker Lynne Ramsay, the film has been hailed by critics, with Deadline calling it a “brutal but beautiful portrait of a woman on the edge.”

Visibly teary eyed during the standing ovation, Ramsay addressed the crowd, saying: “Wow. I’m so overwhelmed. Thanks to these amazing actors. I’ve got to get it together — I’ll see you in a minute.”

Joining Lawrence and Pattinson in the cast are LaKeith Stanfield, Sissy Spacek, and Nick Nolte.

Mohamed watched the film one day after appearing on the red carpet for the “Eddington” on Friday.

On Friday, she wore a look by Chinese couture label Cheney Chan. The gown hailed from the label’s Fall/ Winter 2024 collection.

A self-taught fashion designer, Chan was born and raised in the Jiangsu province.

“Growing up, my parents always wanted me to be a pilot,” he previously shared with Vogue Singapore. “I had cleared all the flying tests effortlessly back in high school, but it was unfortunately not where my heart lay.” Eventually, he gained a fashion media degree at Peking University before starting his eponymous label in 2012.

The label has previously been flaunted by the likes if US singer Kelly Roland and actress Anya Taylor-Joy.

Mohamed finished off her look with a matching hijab and bejeweled brooch.

The rising star has attended the Cannes Film Festival before, in 2023 and 2024, and is fast making a name for herself as one to watch in the fashion industry.

She has worked with brands like Boss and H&M and walked the runway during Roberto Cavalli’s show in Dubai in 2024.


Palestinian Film Institute amplifies local stories at Cannes

Updated 18 May 2025
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Palestinian Film Institute amplifies local stories at Cannes

DUBAI: The Palestinian Film Institute is making a resounding statement at the Cannes Film Festival with its largest presence to date under the banner #HereThereAndForever.

This year’s Pavilion Program spans a range of activities including exhibitions, screenings, producer talks, and intimate meet-and-greet sessions, reflecting a commitment to amplifying Palestinian voices on the global stage.

“We’re not celebrating being in Cannes,” PFI programmer Mohanad Yaqubi said in an interview with The Hollywood Reporter. “There’s nothing to celebrate for us … it’s really about orienting the narrative surrounding Palestinian cinema and Palestinian stories through the filmmakers themselves.

“We feel the responsibility, and it’s very hard,” he said. “Some of our members actually have families in Gaza now, and they are here in Cannes. It’s uncomfortable, but this is not an industry only for rich people. We have to make that industry accommodate us and our needs as an oppressed and underrepresented (group).”

A major highlight of the program is the official launch of the PFI Film Fund. According to Yaqubi, the fund represents a dream long in the making. “The aim for the first three rounds is to fund or support four to six projects in different formats, at least, to give them a base so that they can start working,” he said.

In addition, PFI is hosting a special spotlight session on Palestinian producers, as well as a reception featuring filmmakers Arab and Tarzan Nasser, whose film “Once Upon a Time in Gaza” is part of the Un Certain Regard lineup. Another notable event is the screening and reception for “From Ground Zero,” an initiative spearheaded by filmmaker Rashid Masharawi. The anthology film is a collection of eight short documentaries and two feature-length films by 22 Palestinian directors, each offering raw glimpses into life under airstrikes in Gaza.

With four Palestinian producers participating in the Producers’ Network, Yaqubi encouraged attendees to explore their slates, which he described as “the upcoming Palestinian films and narratives that need to be supported.”

Yaqubi’s aims are clear. “We hope to be here every year,” he said. “The presence is important, and to stay away won’t make a change. We have to dip our toes in the cold water and change things.”


 


Iraq’s first filmmaker in Cannes says sanctions no piece of cake

Updated 18 May 2025
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Iraq’s first filmmaker in Cannes says sanctions no piece of cake

CANNES: Hasan Hadi, the first filmmaker from Iraq to be selected for the prestigious Cannes Festival, said economic embargoes like those imposed in his childhood under Saddam Hussein did not work.
“Sanctions empower dictators,” he told AFP, as they concentrate scant resources in their hands and only make them “more brutal.”
“In the history of the world, there was no one time when they (imposed) sanctions and the president couldn’t eat.”
Hadi’s first feature film, “The President’s Cake,” has received very good reviews since premiering Friday in the Directors’ Fortnight section.
Cinema publication Deadline said it was “head and shoulders above” some of the films in the running for the festival’s Palme d’Or top prize, and “could turn out to be Iraq’s first nominee for an Oscar.”
The film follows nine-year-old Lamia after she has the misfortune of being picked by her school teacher to bake the class a cake for the president’s birthday, or be denounced for disloyalty.
It is the early 1990s, the country is under crippling UN sanctions. She and her grandmother — with whom she shares a reed home in Iraq’s southern marshlands — can barely afford to eat.
As they set off into town to hunt down unaffordable ingredients, with Lamia’s pet cockerel and their last meagre belongings to sell, the film plunges into the social reality — and everyday petty corruption — of 1990s Iraq.
The near-total trade and financial embargo imposed on Iraq after it invaded Kuwait “demolished the moral fabric of society,” Hadi said.
It sent the country “hundreds of years back.”


The filmmaker said he did not taste cake until he was in his early teens, after the US-led invasion in 2003 toppled Saddam and sanctions were lifted.
Instead, with processed sugar and eggs out of reach, there was “date cake” — whose main ingredient was squished dates, sometimes with a candle on top.
“As a kid you’re sad that you’re not getting your cake,” he said. But as you grow up, you realize what your parents must have gone through to put food on the table.
“Not only my family, but all of these people had to sell literally everything,” he said. “There were people that were even selling their door frames.”
Hadi and his team shot the film entirely in Iraq.
It beautifully captures the ancient wetlands in the south of the country, listed as a World Heritage Site since 2016 and reputedly the home of the biblical Garden of Eden.
Saddam drained them in the 1990s, trying to flush out rebels hiding in the reeds.
But after the US-led invasion, authorities opened up the valves and the wetlands flourished again — even if they are now threatened by climate change.
Hadi said he chose the location partly to make the point that “the marshes stayed and Saddam went away.”


To re-create the Iraq of his youth, Hadi and his crew paid close attention to detail, amassing vintage clothes and bringing a barber on set to trim the hair and moustaches of everyone down to the extras.
They scouted out the best locations, shooting one scene in a small eatery reputed to have been frequented by Saddam himself.
They chose non-actors to play ordinary Iraqis under the ever-present eyes of the president in posters, pictures frames and murals.
Hadi said hearing US President Donald Trump say recently that he planned to lift sanctions on Syria after Islamists toppled president Bashar Assad last year was “amazing.”
“I don’t think the sanctions helped in any way to get rid of Bashar, but definitely empowered him to kill more people, and torture more people,” he said.