HEBRON, West Bank: An Oscar-winning Palestinian director and two others have been released by Israel, a day after he was badly beaten by Jewish settlers and detained by Israeli forces in the occupied West Bank.
AP journalists on Tuesday saw Hamdan Ballal and the two other Palestinians leaving the police station in the West Bank settlement of Kiryat Arba where they were being held.
Ballal had bruises on his face and blood on his clothes.
Balla’s wife said earlier Tuesday that he was beaten in front of his home by three men in military fatigues while another filmed the attack.
Ballal and the other directors of “No Other Land,” which looks at the struggles of living under Israeli occupation, had mounted the stage at the 97th Academy Awards in Los Angeles earlier this month when it won the award for best documentary film.
On Tuesday, the three were being held at a police station in the occupied West Bank. Their attorney, Lea Tsemel, said they would soon be released after spending the night on the floor of a military base while suffering from serious injuries sustained in the attack.
She had earlier said they were accused of throwing stones at a young settler, allegations they deny.
Palestinian residents say around two dozen settlers — some masked, some carrying guns and some in military uniforms — attacked the West Bank village of Susiya on Monday evening as residents were breaking their fast during the Muslim holy month of Ramadan.
Soldiers who arrived pointed their guns at the Palestinians, while settlers continued throwing stones, they said.
The Israeli military said Monday it had detained three Palestinians suspected of hurling rocks at forces and one Israeli civilian involved in a what it described as a violent confrontation. On Tuesday, it referred further queries to police, who did not immediately respond to a request for comment.
‘I’m dying!’
Lamia Ballal, the director’s wife, said she heard her husband being beaten outside their home as she huddled inside with their three children. She heard him screaming, “I’m dying!” and calling for an ambulance. When she looked out the window, she saw three men in uniform beating Ballal with the butts of their rifles and another person in civilian clothes who appeared to be filming the violence.
“Of course, after the Oscar, they have come to attack us more,” Lamia said. “I felt afraid.”
West Bank settlers are often armed and sometimes wear military-style clothing that makes it difficult to distinguish them from soldiers.
On Tuesday, a small bloodstain could be seen outside their home, and the car’s windshield and windows were shattered. Neighbors pointed to a nearby water tank with a hole in the side that they said had been punched by the settlers.
Film looked at Palestinians’ struggle to stay on the land
“No Other Land,” which won the Oscar this year for best documentary, chronicles the struggle by residents of the Masafer Yatta area to stop the Israeli military from demolishing their villages.
The joint Israeli-Palestinian production has won a string of international awards, starting at the Berlin International Film Festival in 2024. It has also drawn ire in Israel and abroad, as when Miami Beach proposed ending the lease of a movie theater that screened it.
Basel Adra, another of the film’s co-directors who is a prominent Palestinian activist in the area, said there’s been a massive upswing in attacks by settlers and Israeli forces since the Oscar win.
“Nobody can do anything to stop the pogroms, and soldiers are only there to facilitate and help the attacks,” he said. “We’re living in dark days here, in Gaza, and all of the West Bank ... Nobody’s stopping this.”
Masked settlers with sticks also attacked Jewish activists in the area on Monday, smashing their car windows and slashing tires, according to Josh Kimelman, an activist with the Center for Jewish Nonviolence. Video provided by the group showed a masked settler shoving and swinging his fists at two activists in a dusty field at night.
Open-ended military rule
Israel captured the West Bank in the 1967 Mideast war, along with the Gaza Strip and east Jerusalem. The Palestinians want all three for their future state and view settlement growth as a major obstacle to a two-state solution. Most of the international community considers the settlements illegal.
Israel has built well over 100 settlements, home to over 500,000 settlers who have Israeli citizenship. The 3 million Palestinians in the West Bank live under seemingly open-ended Israeli military rule, with the Western-backed Palestinian Authority administering population centers.
The Israeli military designated Masafer Yatta in the southern West Bank as a live-fire training zone in the 1980s and ordered residents, mostly Arab Bedouin, to be expelled. Around 1,000 residents have largely remained in place, but soldiers regularly move in to demolish homes, tents, water tanks and olive orchards — and Palestinians fear outright expulsion could come at any time.
The Palestinians also face threats from settlers at nearby outposts. Palestinians and rights groups say Israeli forces usually turn a blind eye to settler attacks or intervene on behalf of the settlers.
The war in Gaza has sparked a surge of violence in the West Bank, with the Israeli military carrying out widescale military operations that have killed hundreds of Palestinians and displaced tens of thousands. There has been a rise in settler violence as well as Palestinian attacks on Israelis.
Oscar-winning Palestinian director released by Israeli forces in the West Bank
https://arab.news/pu4e5
Oscar-winning Palestinian director released by Israeli forces in the West Bank
- AP journalists on Tuesday saw Hamdan Ballal and the two other Palestinians leaving the police station in the West Bank
- Ballal had bruises on his face and blood on his clothes
From Shanghai to New York, stars show off Lebanese looks
DUBAI: International stars including Hollywood actress Emily Blunt and Chinese K-Pop singer Victoria Song showed off glittering looks by Lebanese designers at global events.
Blunt attended the American Institute for Stuttering's Annual Gala in New York late last week in a gown from Lebanese label Elie Saab’s pre-fall 2025 ready-to-wear collection.
The pleated gown came in a simmering shade of burnt sienna and incorporated a bouquet of ruffles on one shoulder. The Oscar-nominated actress chose to keep things relatively simple when it came to her accessories, opting for minimal earrings, bracelets and a few shimmering rings. Blunt’s look was put together by celebrity stylist Jessica Paster, who also works with singer Paris Jackson and actress and comedian Quinta Brunson. Launched in 1998, the American Institute for Stuttering is a non-profit organization offering speech therapy and community support for people of who stutter.
Blunt previously wore an Elie Saab design for the 2024 BAFTAs in London and proved she’s a fan of Lebanese creations by attending the Clooney Foundation for Justice’s Albie Awards in a hot red dress by Lebanese designer Zuhair Murad in September 2023.
Meanwhile, Chinese songstress Song showed off a full beaded lilac number by Elie Saab at the 2025 2025 Sina Weibo Movie Night Awards on Friday.
The red carpet in Shanghai, China, played host to a number of decadent Lebanese designs, with the likes of Elaine Zhong showing off a Zuhair Murad gown as Tong Li Ya opted for Georges Hobeika and Chen Du Ling stunned in Georges Chakra.
The actresses all opted for floor-length shimmering gowns in various shades of gold, with Zuhair Murad’s social media team describing the fashion house’s creation as “an embroidered corset with leaf petal detailing in champagne and silver paired with a draped silk chiffon skirt from the Zuhair Murad Couture Spring 2025 collection.”
Egyptian film ‘Happy Birthday’ takes top honors at Tribeca Film Festival
DUBAI: Egyptian film “Happy Birthday,” the debut feature by writer-director Sarah Goher, this week took two of the international festival’s top honors — for best international narrative feature and for best screenplay.
The film, which stars Nelly Karim, Hanan Motawie, Hanan Youssef and Doha Ramadan, tells the story of Toha, an eight-year-old girl working as a child maid for a wealthy family in Cairo. She forms a close bond with the family’s daughter, Nelly, and becomes determined to give her the perfect birthday — something Toha herself has never experienced.
As her connection with Nelly’s mother begins to blur the lines of class and duty, Toha is forced to confront the stark social hierarchies of modern Egypt.
Goher co-wrote the film with acclaimed Egyptian director Mohamed Diab, internationally recognized for Marvel’s “Moon Knight.” Diab also took on the role of executive producer.
Bella Hadid’s Orebella named conscious brand of the year
DUBAI: Ulta Beauty — one of the largest beauty retailers in the US — has awarded Bella Hadid’s fragrance brand, Orebella, its prestigious “conscious brand of the year” title, recognizing the label’s commitment to clean ingredients, ethical practices and sustainable packaging.
Hadid took to Instagram to announce the news with her followers. “Thank you to our Ulta Beauty family for recognizing our commitment to creating a healthy daily ritual for all,” she wrote.
Hadid went on to share the criteria that helped Orebella to earn the title, noting that the brand meets Ulta’s guidelines across several categories. These include clean ingredients — excluding parabens, phthalates and more than 20 other substances on Ulta’s “Made Without” list.
Orebella goes further, she said, banning more than 1,300 ingredients in line with EU standards.
She also emphasized that the brand is certified cruelty-free by PETA and Leaping Bunny, and is entirely vegan, formulated without any animal products or byproducts. In addition, all Orebella packaging is recyclable, refillable or made from recycled or bio-sourced materials, including its line of perfumes.
Hadid also highlighted Orebella’s philanthropic efforts, explaining that the brand’s Alchemy Foundation donates at least 1 percent of domestic net sales to causes “close to our hearts.”
The alcohol-free scents of Orebella, which launched in 2024, were Hadid’s answer to traditional perfumes.
Hadid wrote on her website: “For me, fragrance has always been at the center of my life — helping me feel in charge of who I am and my surroundings,” she said. “From my home to nostalgic memories, to my own energy and connection with others, scent has been an outlet for me. It made me feel safe in my own world.
“Through my healing journey, I found that I was extremely sensitive to the alcohol in traditional perfumes — both physically and mentally — it became something that was more overwhelming than calming to me,” she added. “That is the main reason I wanted to find an alternative, so essential oils became an artistic and experimental process for me.”
She started growing lavender on her farm, walking through the garden every morning and learning about her family’s tradition of making homemade scents. “I realized I might have a calling in this. I found healing, joy and love within nature’s scents,” she said.
Pakistani films attracted ‘biggest’ Eid collections in 5 years, says largest cinema chain
- Pakistani films ‘Love Guru’ and ‘Deemak’ led box office collections surge this Eid Al-Adha, says Cinepax Cinemas sales head
- Love Guru’s team says flick generated $676,500 during first five days, Deemak distributor says movie collected $142,000
KARACHI: Pakistani films that released on the Eid Al-Adha last week attracted the highest Eid box office collections in five years, the sales and marketing head of the country’s largest cinema chain said on Friday.
Pakistani romantic comedy ‘Love Guru,’ starring acting powerhouses Humayun Saeed and Mahira Khan released in cinemas worldwide on Eid-ul-Adha. The other prominent Pakistani movie that released in theaters across the world was “Deemak,” a horror movie with A-list actors Faysal Qureshi, Sonya Hussyn and Samina Peerzada starring in lead roles.
As per official figures released by Love Guru, the Pakistani film collected Rs 12.8 crores [$457,143] in Pakistan during the first three days of Eid Al-Adha, making it the biggest ever Eid weekend opener in the country.
“If we look at Eid [film] business since Covid, we did the biggest business this year [on Eid],” Adnan Ali Khan, the sales and marketing head of Cinepax Cinemas, told Arab News. “Meaning highest in five years.”
He said this does not include The Legend of Maula Jatt film, which enjoyed record-breaking box office business but was not released on Eid.
“Love Guru got 50 percent of the shows and that is why it generated huge numbers,” Khan explained, adding that Deemak was the second-best performing film on Eid while Hollywood flick “From the World of John Wick: Ballerina” secured the third-highest collections.
The film’s official team announced that its international box office collections for the opening weekend surged to Rs15.4 crores [$546,000]. This means the film raked in a total of Rs28.2 crores [$999,186] in the first three days of the release.
After the first five days of their release, Love Guru’s team said it collected Rs19.10 crores [$676,500] locally while Deemak distributor Nadeem Mandviwalla said the horror flick generated around Rs4 crores [$142,000] at the box office.
Mandviwalla said the film is expected to secure over Rs7 crores [$248,000] in box office collections by the end of this week.
“It is a very encouraging figure for Deemak,” Mandviwalla said.
However, there have been speculations around the authenticity of these figures, particularly at the local box office. There hasn’t been an official detailed division of box office collections in cinemas across Pakistan.
Pakistani film critic Kamran Jawaid, however, brushed aside claims that Love Guru’s box office collections were fabricated.
‘ONLY FOR THE DELUDED’
“When the audience comes out of cinemas in droves at seven in the morning— and that too from multiple shows— then countering claims about fabricated figures is only for the deluded,” Jawaid told Arab News.
He said the high footfall in cinemas across the country puts to rest the opinion that attendances at cinemas are too low due to expensive ticket prices or that audiences no longer harbor interest in Pakistani movie.
“One just has to make movies that people are willing to shell money out on, whether it is Mission: Impossible: The Final Reckoning, which also ran shows till morning two weeks before Eid, or Love Guru,” Jawaid said.
The Pakistani film critic broke down the numbers based on the number of screens and seating capacity of Pakistani cinemas.
“Although not big, counting all 91 screens, Pakistan’s total seating capacity is a little above 21,000, which equates to 21 million in ticket sales per show/slot, with an average ticket price of a thousand,” he said.
“An average of four shows per day leads to 84 million in gross income. Depending on the number of screens a film like Love Guru gets — which is roughly between 30-40 percent of the country — per-day estimates range between 25 to 33 million in gross receipts,” Jawaid explained.
“Given that the tickets are selling hot, one cannot refute the legitimacy of the quoted figures.”
Khan said the movies garnered the highest numbers at its cinemas in Packages Mall in Lahore, followed by Jinnah Park in Rawalpindi.
“We are running late night shows every day,” Khan said, adding that the coming weekend was also expected to feature “packed” theaters as the cinemas have bookings in advance.
“We need four Pakistani movies like Love Guru every year,” he said. “However, Deemak has started gaining momentum now alongside Love Guru.”
Jawaid, however, looked toward the future of Pakistani cinema.
“Pakistan’s cinema needs one Love Guru a month to revive audience’s interest,” he said.
‘Ocean’ — bleak indictment of mankind offers a glimmer of hope
- David Attenborough’s latest documentary is a vital, compelling call to action
JEDDAH: “Ocean with David Attenborough” was released regionally on Disney+ on June 8 — World Ocean Day. It hit cinemas in May, on the 99th birthday of its venerable and venerated presenter, the famed biologist and broadcaster.
Like all Attenborough-fronted nature docs, “Ocean” is gorgeously shot and an immersive viewing experience. But while the vast majority of his output leaves you speechless at the on-screen beauty, “Ocean” also strikes you dumb at the horrifying devastation wrought on the open seas by the 40,000+ super-sized fishing trawlers operating around our planet constantly.
Sweeping the seabed with their giant nets, these ships commit slaughter on an unimaginable scale, leaving little alive in their rapacious search for a few specific species that humans actually eat. In their wake they leave something akin to the dystopian portrayals of a nuclear winter in post-apocalyptic dramas. These grim, heart-breaking shots are interspersed with glorious, vibrant scenes of what a healthy seabed should look like — towering forests of kelp, sea meadows, abundant diverse communities of extraordinary marine life… A reminder of what we are destroying every minute of every day.
Attenborough lays out for us with all of his trademark passion and authority just what is at risk here. The seas, he stresses, are vital for the survival of humankind. And humankind is putting the seas in terrible jeopardy. Marine ecosystems are delicately balanced and linked in complex, subtle ways that we are only now beginning to understand. And industrial fishing is far from subtle. As Attenborough notes, if rainforests were being razed at this rate, the protests would be global and furious. But because this destruction takes place miles below the surface of the water, it goes mainly unnoticed. Incredibly, this mindless, untargeted carnage is not illegal; it is positively encouraged — and heavily subsidized — by many governments.
Thankfully, there is hope. Attenborough reveals that scientists have discovered that — if left alone through the imposition of “no-take zones” — the oceans can recover at an incredible rate, and the most barren of sea floors can once again flourish in just a few years. There is now an international pact to turn one-third of Earth’s seas into no-take zones by 2030. And if this does happen — note the if — then there’s a good chance that man-made damage can be reversed not just in the water, but on land, as sea life is, it turns out, extremely adept at reducing carbon. The sea could save the world.
As nature documentaries go, it’s hard to imagine “Ocean” being bettered (except perhaps for the distracting clichéd mishmash that serves as its soundtrack, which deserves to be classified as a man-made disaster itself). This is a compelling, vital and urgent narrative delivered by an expert scientist and broadcaster accompanied by awe-inspiring, mind-boggling cinematography showing us wonders that most of us will never come close to seeing first-hand. And it lays out a path for survival. Whether we actually take that path...
