Review: ’Archive 81’ features an intriguing mixture of horror
The series excels in its production design and filming, capturing the eerie atmosphere of the Visser structure as well as the unsettling atmosphere of the cult
Updated 24 November 2024
Ghadi Joudah
“Archive 81” is a horror series released on Netflix in 2022 that follows Dan Turner, an archivist who has been tasked to retrieve some videotapes.
These tapes document the investigation into a secret cult and the disappearance of one of its members.
Melody Pendras, a graduate student looking into the ghostly past of a building known as the Visser, which has a dark past tied to supernatural events, recorded the tape.
As Turner digs deeper into the footage, he gradually gets caught up in the drama, filming the line between the world and the supernatural.
“Archive 81” features an intriguing mixture of horror, mystery and psychological thriller elements.
The show’s narrative, through its development footage layout intertwined with Turner’s contemporary narrative, creates an unsettling atmosphere that keeps the viewer on edge.
The performances, especially by Mamoudou Athie and Dina Shihabi, add depth as the characters maneuver their own conflicts.
The series excels in its production design and filming, capturing the eerie atmosphere of the Visser structure as well as the unsettling atmosphere of the cult.
The tempo is generally well managed, with a suspense structure as Turner discovers the shocking truth behind the tape.
However, some viewers may find that the ending is somewhat unclear, which may detract from the overall experience for those seeking closure.
Nonetheless, it is a haunting and challenging series that skilfully investigates themes of memory, injury, and the unknown.
“Archive 81” is a must-see for fans of psychological horror and supernatural mystery.
‘Lion King’ roars into life with Ithra live orchestra in Dhahran
Family favorite is part of Ithra’s Disney in Concert series along with ‘Frozen’
Updated 05 July 2025
Jasmine Bager
DHAHRAN: Nearly three decades after it first captivated global audiences, Disney’s “The Lion King” dazzled new and older generations at the King Abdulaziz Center for World Culture, or Ithra, in Dhahran this week by offering a chance to watch the film anew with a live orchestra.
“We hope that it will bring goosebumps and tears,” conductor Erik Ochsner told the crowd before the show. “This is a live performance, and so we would beg of you to please just enjoy it live.”
“The kids have seen the movie multiple times; we’ve all seen the movie multiple times. (Supplied)
As it has done in previous experiences, such as the 2019 and 2022 live orchestra showcases of several “Harry Potter” films in concert series, Ithra brought a full orchestra to perform Hans Zimmer’s Oscar-winning score while the animated film played in the background on a large screen.
For the experience, the film was stripped of the music while all the original audio, including dialogue and songs, remained untouched. The orchestra played those musical parts, breathing new life into the scenes without burying the essence of the nostalgic original.
HIGHLIGHTS
• Joining conductor Erik Ochsner was the Armenian State Symphony Orchestra, under the artistic direction of Sergey Smbatyan.
• For the experience, the Disney film was stripped of the music while all the original audio, including dialogue, remained untouched.
• ‘We hope that it will bring goosebumps and tears,’ Ochsner told the crowd before the show.
People clapped and sang along when the popular “Hakuna Matata” tune came on.
Originally released in 1994, “The Lion King” quickly became one of Disney’s most iconic films, celebrated for its powerful storytelling, memorable characters, and stirring soundtrack.
People clapped and sang along when the popular “Hakuna Matata” tune came on. (Supplied)
The animated film follows Simba, a young lion prince navigating the trials of loss, betrayal, and self-discovery on his journey to reclaim his rightful place in the animal kingdom.
At Ithra, this emotional arc was heightened by the rich, resonant sound of the live symphony orchestra, turning each moment— whether turbulent or triumphant— into an unforgettable experience.
Ithra brought a full orchestra to perform Hans Zimmer’s Oscar-winning ‘The Lion King’ score while the film played on a large screen. (Supplied)
Joining Ochsner was the Armenian State Symphony Orchestra, under the artistic direction of Sergey Smbatyan.
Known for their emotionally charged style and refined sound, the orchestra has built a reputation as a cultural ambassador of Armenia, regularly performing in major concert halls worldwide, including Ithra.
“The kids have seen the movie multiple times; we’ve all seen the movie multiple times. And we thought it would be nice to see it through a live orchestra,” audience member Ahmad Hassan told Arab News during the 20-minute intermission.
Hassan brought his extended family along, including his two children.
“It’s one of my favorite films,” Hassan’s nine-year old daughter Tia told Arab News. She gave the show a thumbs-up.
Her 12-year-old brother, Bakr, said he had watched the film “at least five times” — the first when he was about two or three — but was excited at this new way of appreciating the story.
“I like the show so far. It’s really good. Why? Because you get to see how the music is made instead of it just coming out of the speaker,” he said.
“After watching the show, I’d like to play the piano,” Tia added.
The concert is part of Ithra’s cinematic symphony series, which also includes an upcoming presentation of Disney’s “Frozen,” giving families the chance to relive favorite films in a whole new way.
Tickets are priced at SR200 ($53), and each of the Disney-Ithra performances will run for two days only.
REVIEW: ‘Ironheart’ — compelling hero let down by shoddy storytelling
New Marvel series doesn’t play to its greatest strengths
Updated 03 July 2025
Matt Ross
LONDON: For a studio so adept at world-changing bombast, Marvel has enjoyed a surprising amount of success with shows working on a smaller scale, with lower stakes, about characters and the places they actually live: “Ms Marvel” and “Daredevil: Born Again,” for example, have fared better than, say, the globe-trotting mess that was “Secret Invasion.”
So while genius inventor Riri Williams (Dominique Thorne) was introduced during the ocean-spanning events of “Black Panther: Wakanda Forever,” we really get to know her and her Iron Man-esque suit in “Ironheart,” which sees her return home to Chicago. Without the backing of the Wakandans, or the money of someone like Tony Stark, Riri falls in with a slightly more nefarious crowd in order to make money and keep her suit running. Soon enough she’s pulling off jobs for the shady Hood (Anthony Ramos) and his gang, all while dealing with her overprotective mother, trying to find a way to use her inventions for good, and processing the grief of losing her best friend Natalie in a drive-by shooting.
It's quite a bleak story arc for a Marvel hero — Riri makes some questionable choices and some surprisingly selfish ones too. This could have been mined a little more, perhaps, were “Ironheart” not more concerned with racing through the story at breakneck speed. The six-episode run means there’s not much time for character development — a crying shame when there are hints of some fascinating backstories. It also means, sadly, that not much time or money was given to effects. Some of the CGI is shonky in the extreme, while the armor suit Riri has so lovingly crafted is often relegated to little more than a means by which to arrive. Thorne makes for a charismatic lead, and the supporting cast is great (Alden Ehrenreich’s black market tech dealer Joe especially). The plot, however, feels heavy and cumbersome: shoehorned exposition and one-note villains.
The great stuff here is the little stuff. Riri and Natalie’s relationship, a few snatched glimpses of their life in Chicago, Joe’s backstory — all of these deserve more airtime. Without that attention to detail, “Ironheart” feels flimsy. Fun, but ultimately unsatisfying.
Ghiya Rushidat’s album ‘Chasing Dopamine’ seeks to help listeners with ADHD
Updated 01 July 2025
Nada Alturki
RIYADH: As the awareness around neurodiversity spreads, composer and pianist Ghiya Rushidat and cognitive scientist and author Dr. Scott Barry Kaufman have co-created a genre-defying musical experience tailored specifically for people with ADHD, or attention deficit hyperactivity disorder.
Symptoms of ADHD include inattention (not being able to keep focus), hyperactivity (excess movement that is not fitting to the setting) and impulsivity (hasty acts that occur in the moment without thought).
The upcoming collaborative album, “Chasing Dopamine,” blends neuroscience, ambient soundscapes and special composition into a powerful auditory journey designed to enhance focus, emotional regulation and mental clarity.
The album cover for the upcoming meditation album. (Supplied)
“What I’m really hoping is that when people listen to this, whether they have ADHD or not, that they not only feel compassion for themselves, but they also are able to achieve their goals, or at least feel better about their day-to-day life,” Saudi Arabia-born, Jordan-raised composer Rushidat told Arab News.
Set to release this summer, the album is anticipated to be the first in a series tackling different neurotypes, including OCD and autism.
The tracks will feature guided spoken word by Dr. Kaufman, layered with original music composed by Rushidat. Each track is tailored for different ADHD states: Hyperfocus, feeling emotional overwhelmed, low dopamine, task initiation, creativity, and grounding.
“It’s more of a storytelling kind of track for each topic, rather than just one basic music track that doesn’t change or do anything. That’s more stimulating to the ADHD brain, and that just doesn’t allow you to get distracted during the meditation, but rather just be focused, because you don’t really know what to expect afterwards,” Rushidat said.
“The album, the seven tracks, take you through that process (of) overcoming brain fog, and then overcoming procrastination, and then how to ground yourself and how to feel good about yourself and not beat yourself up because you’re not getting enough things done.”
After her late ADHD diagnosis, Rushidat found that none of the existing meditation albums were compatible with her brain’s wiring. “I couldn’t sit still for five minutes or focus on my breathing at all,” she said. She decided to create her own affirmations that worked for her, prompting her interest in creating a collaborative album with Dr. Kaufman.
“ADHD comes with challenges as well as gifts. If we can help quiet the ADHD mind just enough to get into a creative flow state; there is no limit to what people with ADHD can achieve,” Kaufman said.
Considering his cutting-edge research in creativity, neurodivergence and positive psychology, and Rushidat’s award-winning background in music composition, the work aims to be a science-informed, musically immersive tool for the ADHD community.
“Of course, you don’t expect people to just heal from this. As cliche as it sounds, but ADHD is a superpower because there are so many advantages to it. Once you figure out and realize that this is what you have, then you just navigate through life with that diagnosis,” Rushidat said.
Kaufman is a professor of psychology at Columbia University and director of the Center for Human Potential. He has written for The Atlantic, Scientific American, Psychology Today, and Harvard Business Review, and he is the author and editor of 11 books. Rushidat is a Grammy, BAFTA and Emmy voting member and has scored films, games and performed at Carnegie Hall. She works between Los Angeles, Dubai and Riyadh.
US revokes Bob Vylan’s visas over Glastonbury chant
Updated 01 July 2025
Arab News
DUBAI: The US has revoked entry visas for members of British punk-rap duo Bob Vylan following their Glastonbury Festival set, during which frontman Bobby Vylan led the crowd in a controversial chant against Israel’s military.
Performing on the festival’s West Holts Stage on Saturday, the artist shouted “Free, free Palestine” before encouraging the audience to chant, “Death, death to the IDF (Israel Defense Forces).” Video of the moment quickly spread online, sparking backlash.
On Monday, US Deputy Secretary of State Christopher Landau announced the visa revocation on social media platform X, stating, “Foreigners who glorify violence and hatred are not welcome visitors to our country.” He confirmed that the State Department had rescinded the band’s US visas due to their “hateful tirade.”
The group was scheduled to begin a US tour in late October, as previously announced on their official Instagram account.
The visa decision comes amid growing scrutiny from US authorities under what they describe as a tougher stance on individuals accused of promoting anti-Semitism or inciting violence. The State Department has recently implemented stricter policies on visa restrictions in such cases.
Bobby Vylan released a video statement on social media on Monday.
"First it was Kneecap, now it's us two," he said.
"Regardless of how it was said, calling for an end to the slaughter of innocents is never wrong. To civilians of Israel, understand this anger is not directed at you, and don't let your government persuade you that a call against an army is a call against the people.
On Tuesday, the band took to Instagram to share an official statement.
“We are not for the death of Jews, Arabs or any other race or group of people. We are for the dismantling of a violent military machine. A machine whose own soldiers were told to use ‘unnecessary lethal force’ against innocent civilians waiting for aid. A machine that has destroyed much of Gaza,” read a part of the statement.
“We are being targeted for speaking up. We are not the first. We will not be the last. And if you care for the sanctity of human life and freedom of speech, we urge you to speak up, too,” they ended the post.
Meanwhile, UK police are reportedly investigating the incident.
Their Glastonbury set is the latest in a wave of pro-Palestinian expressions from artists amid Israel’s ongoing war in Gaza.
Review: ‘Holes’ is a prime example of quiet, impactful storytelling
Updated 30 June 2025
Jasmine Bager
DHAHRAN: Saudi film “Holes” continues to make its mark with screenings at film festivals around the world. The quietly arresting drama follows Rakan, a man in his mid-40s, as he returns to his hometown to be with his wife, Reem. He struggles to re-enter a society that no longer trusts him — and one that he also does not fit into.
The film starts with a literal clock — which we don’t see — persistently ticking in the otherwise vacant interior of a residence, the loud but constant sound in the midst of silence sets the tone.
With a fiery but contained temper, eyes welling with sadness, we find out that Rakan is prone to fits of rage. He is portrayed as only having a soft spot for his aging mother and his wife, all while dodging men from his past who haunt him.
The film doesn’t linger on the specifics — there are many gaping holes in the story. Instead, it centers on how the weight of reputation, judgment and suffocating silence shapes a person trying to begin again.
It stars Mariam Abdulrahman and Meshal Almutairi and was produced by Ayman Alnaqeeb and Abdulrahman Altikhais.
Abdulmohsen Aldhabaan, the director of “Holes,” is an independent Saudi writer and filmmaker. He co-founded Talashi Films in 2008 and has directed several shorts and a TV series.
Aldhabaan‘s debut feature film, “Last Visit” (2019), gained international recognition, becoming the first Arab film selected for the East of the West Competition at the Karlovy Vary International Film Festival. It also earned the Jury Award at the Marrakech International Film Festival.
With “Holes,” Aldhabaan continues his signature style of quiet, impactful storytelling marked by restraint and emotional depth.
In “Holes,” Aldhabaan crafts a slow, thoughtful narrative. Rather than relying on heavy dialogue or exposition, the film builds its emotional landscape through atmosphere — solitary walks at night, avoiding tiny puddles in the alleyways, prolonged pauses and distant glances — to explore isolation and inner conflict. The pacing may feel slow to some, but it seems deliberate — offering space for reflection and tension to build.
A persistent image in the film is a literal hole in the wall of Rakan and Reem’s new home. It is never ignored but also never fixed, and that choice is telling. At one point, it gushes water as Reem tries to stuff pretty-colored cloths to stop it — to no avail. It floods their bedroom and the couple tries to contain it together.
The hole becomes a powerful metaphor representing wounds that haven’t healed, things left unresolved, and the parts of a life that remain open to scrutiny or misunderstanding. It defines the space around it — the hole is a character all its own.
