From ‘Tash Ma Tash’ to ‘Hobal’ – a legacy honored

Special From ‘Tash Ma Tash’ to ‘Hobal’ – a legacy honored
The 11th Saudi Film Festival, which concluded on Apr. 23 at Ithra, honored Ibrahim Alhasawi’s nearly four-decade career shaping Saudi cinema. (AN Photo)
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Updated 25 April 2025
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From ‘Tash Ma Tash’ to ‘Hobal’ – a legacy honored

From ‘Tash Ma Tash’ to ‘Hobal’ – a legacy honored
  • Saudi Film Festival honors decades-spanning career of Saudi veteran actor Ibrahim Alhasawi
  • Ibrahim Alhasawi: ‘We’re seeing a powerful emergence of Saudi cultural identity through film’

DHAHRAN: “I felt an overwhelming sense of pride when I heard the news,” said Ibrahim Alhasawi, the Saudi veteran actor celebrated at this year’s Saudi Film Festival.

“Having witnessed the festival since its first edition in 2008, and being recognized alongside many fellow filmmakers I’ve worked with over the years, is truly an honor,” he told Arab News.

The 11th Saudi Film Festival, which concluded on April 23 at the King Abdulaziz Center for World Culture in Dhahran, honored Alhasawi’s nearly four-decade career shaping Saudi cinema.

Organized by the Saudi Cinema Association in collaboration with Ithra and supported by the Saudi Film Commission, the festival was held under the theme “Stories Seen and Told,” with a focus on “Cinema of Identity” to highlight film’s role in expressing personal, cultural and national identity.

A cornerstone of Saudi cinema, Alhasawi began in community theater in the 1980s before gaining prominence in television and film, including as producer and director. His notable works include the iconic series “Tash Ma Tash” as well as recent performances in “Hajjan” and “Hobal.”

He spoke candidly about the industry’s growth, saying: “The change has been tremendous. Since the founding of the Saudi Film Commission, we’ve seen a clear rise in both the scale and quality of Saudi productions.”

His work is rooted in cultural storytelling. “Art without identity loses its soul,” he said. “We’re seeing a powerful emergence of Saudi cultural identity through film. With stories like ‘Hobal’ and ‘Hajjan,’ we are introducing audiences worldwide to the depth of our heritage.”

Alhasawi also highlighted the importance of representing the Kingdom’s regional diversity, noting how different areas of Saudi Arabia bring distinctive perspectives and traditions that enrich the national narrative.

The festival paid tribute to the actor with a commemorative book, “From Village Theatre to the Global Screen,” featuring photographs, reflections and testimonials about his journey.

He met aspiring filmmakers at festival book signings and discussions, cementing his role as a mentor.

Of his acting process, he said: “I approach each role by exploring the character’s physical presence, social background and psychological depth. These layers help bring the performance to life with sincerity and nuance.”

The festival showcased 68 films from Saudi Arabia and the Gulf, including eight narrative features and 21 shorts, with “Hobal,” directed by Abdulaziz Alshlahei, standing out for its themes of cultural identity and resilience.

Ithra’s venues hosted screenings, panels, workshops and red-carpet events, blending film with musical and artistic performances to underscore cinema’s place in Saudi cultural life. 

By celebrating icons such as Alhasawi while amplifying new voices, the festival highlights Saudi cinema’s vibrant legacy and its growing global influence.


Landmark exhibition ‘Layered Medium’ brings six decades of Korean art to the GCC

Landmark exhibition ‘Layered Medium’ brings six decades of Korean art to the GCC
Updated 16 May 2025
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Landmark exhibition ‘Layered Medium’ brings six decades of Korean art to the GCC

Landmark exhibition ‘Layered Medium’ brings six decades of Korean art to the GCC

DUBAI: The first large-scale showcase of contemporary Korean art in the Gulf Cooperation Council region, “Layered Medium: We Are in Open Circuits – Contemporary Art from Korea, 1960s to Today,” promises to be a transformative experience for audiences in the Middle East.

Co-curated by Maya El-Khalil of the Abu Dhabi Music & Arts Foundation and Yeo Kyung-hwan of the Seoul Museum of Art, the exhibition brings together a sweeping collection of artworks that explore the evolution of Korean contemporary art from its roots in the 1960s to the present day.

Held at the Abu Dhabi art gallery Manarat Al-Saadiyat from May 16 to June 30, the exhibition marks a historic cultural bridge between Korea and the region, offering insights into how Korean artists have responded to shifts in political landscapes, technological advancements, and the complexities of modernity.

Ayoung Kim, Still image from Delivery Dancer's Sphere, 2022, single-channel video, 25 min. (Courtesy of the artist)

“This exhibition is a testament to the power of art to transcend boundaries and ignite conversations across cultures,” said El-Khalil to Arab News. “It’s an opportunity for audiences to witness the dynamism and resilience of Korean art over decades of transformation.”

El-Khalil drew on her first experiences in Seoul, which she described as a “moment of discovery.” For her, the city revealed what she called “productive contradictions”: an art scene that was deeply specific to its context but spoke to universal experiences of urbanization, globalization, and technological change.

“This tension between specificity and universality became central to our curatorial approach. Rather than trying to explain Korean art, we wanted to create frameworks that would allow audiences to encounter works through shared experiences of inhabiting our rapidly shifting, technologically mediated worlds,” El-Khalil said.

Ayoung Kim, Installation view of Delivery Dancer's Sphere (2022) from the exhibition "What an Artificial World (National Museum of Modern and Contemporary Art,
Cheongju, Korea, 2024)." (National Museum of Modern and Contemporary Art, Korea, Photography Hong Choelki)

The exhibition begins with the immediate sensory experiences of the body, intersecting with social constructs of gender, nationality, and identity. From there it connects to cultural narratives of history and tradition before engaging with contemporary spatial realities of rapid urbanisation and precarious ecologies. It begins with its experimental phases in the 1960s, moving through the politically charged works of the 1980s, and culminating in the boundary pushing digital and multimedia explorations of today.

Yeo explained the curatorial decision. “We experience reality through our bodies, our social structures, and our physical and virtual terrains. By organizing the exhibition through this expanded sense of medium — as atmospheres of meaning-making — we created a framework that reflects circuits of experience: from our immediate bodily presence to our social relationships, to our navigation of built environments striated with power and control.”

Byungjun Kwon, Dancing Ladders, credit MMCA (2). (Supplied)

Among the standout works are installations that challenge conventional perceptions of space and time, multimedia projects that intertwine Korean folklore with digital storytelling, and large-scale sculptures that articulate the tension between tradition and innovation. El-Khalil spoke of parallels between Seoul and Abu Dhabi, citing rapid urbanization and globalization as shared narratives.

“Both cities are the product of rapid, accelerated development, each environment a remarkable narrative of transformation, though the stories are quite distinct: South Korea emerging after war and poverty, while the UAE grew quickly thanks to a clear vision and the discovery of natural resources,” she said.

“What’s really interesting is how artists in both places respond to similar changes like urbanisation or globalisation but from different cultural perspectives. Even though these changes seem global, they’re always shaped by local histories and ideas about the future. For example, Sung Hwan Kim’s ‘Temper Clay’ (2012), set in uniform apartment blocks, looks at the emotional and social impact of this kind of growth. These parallels allowed us to explore how different societies process similar transformations through different historical and cultural frameworks,” she added.

Ram Han, Room type 01, 2018. (Collection of Seoul Museum of Art)

The exhibition also highlights the impact of technological revolutions on Korean art, particularly in the realm of video and digital installations that emerged in the late 1990s. “Korean artists have always been at the forefront of exploring new media, often using technology as a medium to dissect cultural narratives and global dialogues,” said Yeo. “Their work is a testament to adaptability and forward-thinking—an open circuit that is constantly evolving.”

In addition to the main exhibition, “Layered Medium” features a series of panel discussions, workshops, and interactive installations aimed at engaging the community in dialogue about the role of contemporary art in shaping cultural identity and understanding. El-Khalil emphasized the importance of these community-focused initiatives: “We want this exhibition to be more than just a visual experience; it’s a platform for learning and cross-cultural exchange.”

As the first large-scale Korean art exhibition in the GCC, “Layered Medium” is poised to set a new standard for artistic collaboration between Korea and the Middle East. With its emphasis on dialogue, innovation, and historical reflection, the exhibition not only showcases the richness of Korean artistic expression but also reinforces the universal language of art as a bridge across diverse cultures.

“Ultimately, our hope is that visitors leave with a deeper appreciation for the complexity and beauty of Korean contemporary art,” said Yeo. “It’s about creating connections—not just between East and West, but across generations, mediums, and ideologies.”


Red Sea fund honors 7 women in cinema at Cannes festival

Red Sea fund honors 7 women in cinema at Cannes festival
Updated 16 May 2025
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Red Sea fund honors 7 women in cinema at Cannes festival

Red Sea fund honors 7 women in cinema at Cannes festival
  • Female voices in movies vital, they tell Arab News
  • High praise for the Kingdom’s Red Sea Film Fund

CANNES: Seven Saudi Arabia and international women filmmakers and artists were honored at the Cannes International Film Festival on Thursday night.

Elham Ali, Jacqueline Fernandez, Gaya Jiji, Amina Khalil, Rungano Nyoni, Sarah Taibah, and Engfa Waraha were recognized for their work at the Red Sea Film Fund’s Women in Cinema Gala event.

Several of the women spoke to Arab News about the importance of women’s voices in cinema, and had high praise for the Kingdom’s efforts to support them.

South Asian actress and performer Fernandez said: “At my 15th year in film, and being part of the industry, this really culminates and really motivates me to keep going and to do more and to rise and it couldn’t have come at a better time.

“​​Just meeting the women and the talent here, seeing how women are supporting women on such a platform has been so inspiring. I feel every artist constantly needs to feel motivated and inspired, and this is one of those moments for me.”

The former Miss Universe honoree transitioned into film in the Indian industry with breakout performances in “Murder 2” (2011) and “Housefull 2” (2012).

She also starred in commercial successes “Race 2” (2013) and “Kick” (2014) opposite Salman Khan.

“I think that their (RSFF) passion to promote film and to promote the technicians and to promote the industry has been very, very admirable.

“The fact that also they are not just focusing on Saudi, but they’re looking at more of a global reach for their talent, and they’re also looking at connecting and bringing together other cultures within that.

“It really is what cinema is all about, right?” she said.

Saudi Arabia actress and presenter Ali emphasized the importance of investing in domestic cinema infrastructure, as exemplified by efforts of the Film Commission, Film AlUla, the RSFF, and independent grassroots initiatives.

“There’s nothing more important than cinema to present a history and cement stories.

“Cinema is the platform to transfer our stories to the world, and the fastest to do that, and that’s why I’m with and support this industry and I still (strive) for more.

“Yes, we’ve reached such a beautiful point today by seeing our work displayed at international festivals, like Cannes and others, but that’s why we need more.

“We’re taking quick, powerful, and creative steps,” she said.

She added that cultural sensitivities remain a challenge but younger filmmakers were dealing with them slowly.

Zambian-Welsh director, screenwriter and actress Nyoni told Arab News: “I feel fortunate to be recognized.

“It feels like someone, somewhere is listening or at least paying attention a little bit, but also because the Red Sea (Film Fund) spotlights specific areas that are not very popular.

“People always go to the usual suspects and I always love especially when people come to Africa.

“It’s such a rarity because, actually, the benefit is you don’t get to be very popular, these are not very sexy places to go to, and I love that they finance filmmakers.

“That's the bit that I find really amazing.”

Nyoni gained recognition with her early shorts, including “The List” (2009), and with her more recent feature films, “I am not a witch” (2017) and “On becoming a guinea fowl” (2024).

They have all earned her numerous awards including the Un Certain Regard Award for Best Director at Cannes last year. 

Syrian filmmaker Gaya Jiji, whose first feature “My Favorite Fabric” was also selected in the Un Certain Regard section in 2018, said the right support for women in cinema is emerging now globally.

She attended the Red Sea Film Festival three years ago, which supported her movie. And the festival is a co-producer of her second feature “Pieces of Foreign Life.”

She said that the RSIFF has helped create space for women, specifically from Saudi Arabia, which was a step to fulfilling the Vision 2030 plan.

Thai actress Waraha said the RSIFF has given a spotlight for women in Asia to have a bigger platform on a global level.

“​​In Thailand, it’s not that difficult for women to be in cinema, but on an international level, especially women of color, there’s language barriers.

“There’s looks that limit (me) to certain roles, which make it harder for me to bring into the international level with blockbuster movies,” she said.

Waraha gained recognition in 2023 for her lead role in the hit TV series “Show Me Love,” which marked her breakout performance.

Her role in “The Paradise of Thorns,” which she considers her breakout moment, earned her the Best Actress of the Year award at the 2025 Thailand Box Office Awards.

“I feel proud,” she said about receiving the Women in Cinema honor. “And I want to keep this as inspiration for both myself and for others.”

“I always say women are half of society, and they need to be half of the industry as well.

Honoree Taiba has dedicated her work to shedding light on “real women” in both a physical and emotional sense.

“As much as I’m really, really, really proud to be one of the seven highlighted women in cinema, I hope that we reach a point of equality in the industry that there are no such special events just for us,” she said.

She is the creator, writer and lead of the acclaimed dark comedy series “Jameel Jiddan,” and most recently finished shooting her feature film “A Matter of Life and Death,” which she stars in and wrote.

“As a woman — and I’m sure a lot of women relate to that — we really doubt our deserving of things.

“This year, I decided that … I’m worth it. I really worked hard, and I’m really proud of myself, that I’m in the right place at the right time of my life.”


Review: ‘The Eternaut’ — compelling post-apocalyptic sci-fi from Argentina

Review: ‘The Eternaut’ — compelling post-apocalyptic sci-fi from Argentina
Updated 15 May 2025
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Review: ‘The Eternaut’ — compelling post-apocalyptic sci-fi from Argentina

Review: ‘The Eternaut’ — compelling post-apocalyptic sci-fi from Argentina

DUBAI: At first, it seems like “The Eternaut” is going to be a climate-crisis-focused piece. It’s summer and Buenos Aires is boiling in more ways than one — demonstrations against government incompetence rage on the streets while power cuts only increase the oppressive heat felt by residents. Then a sudden fall of deadly radioactive snow kills hundreds of thousands instantly.

The snow continues to fall as survivors quickly work out that to venture outside without full body cover and masks is to guarantee death. A small group of middle-aged friends were enjoying their regular poker night when the snow began to fall, and it is on them that the series centers — particularly Juan Salvo, a veteran of the war between Argentina and the UK over the Falkland Islands (or the Malvinas, as they’re called in Argentina).

There are many other survivors, including people in the neighborhood they’ve known for years, and the show does a fine job of exploring the escalating paranoia as people accustom themselves to their new reality and realize that their acquaintances are potentially as deadly as the snow. There are echoes of the source material’s political edge too, as the line between neighbor and enemy blurs.

Juan (a convincingly grizzled Ricardo Darin) manages to find his ex-wife, but their daughter, Clara, is missing — she was at a friend’s house when the snowstorm started. Much of the first two episodes is taken up with Juan’s unsuccessful search for her. The starkly beautiful cinematography is often breathtaking, and the claustrophobia is palpable, both in the houses of the survivors and in the suits they must wear to go anywhere.

Halfway through the six episodes, though, there’s a grinding shift of gears. The apocalypse, it tuns out, was actually the result of an alien invasion, the first wave of which involves giant bugs. Juan’s super-smart friend Tano correctly predicts that the bugs are controlled by something more sinister.

That sudden shift means the enjoyable slow-burn grittiness of the opening episodes is lost, as the show becomes more CGI-action-based. It’s still gripping, but what had promised to be a unique standout fades into something far more generic.

 


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-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.